#also to clarify on my former post | Explore Tumblr posts and blogs

lolomidi · 9 months ago

Text

The Price of Entertainment: An Episode-By-Episode Analysis of Alastor's Facade

I don’t think any character in Hazbin Hotel has been discussed as much as Alastor, and it’s a testament to how much the writers put in his character that the mystery of his intentions, past, and contract have been so debated on.

There are some takes I vehemently disagree with, but something a lot of people seem to have settled on is that Alastor is, behind his massive ego and cool-headed persona, insecure about his place in Hell after his long “sabbatical.” I want to do an episode-by-episode analysis of Alastor’s behavior and how Season 1 shifts our view of him from an unquestionably powerful Overlord to something with more depth, and while I won’t be speculating on who owns his soul and how he’ll break that contract in those post, I will take a guess at the future of his character in a narrative sense. I will also implicitly be addressing my issues with some of the conclusions others have made, or at least playing devil's advocate.

NOTE: I want to clarify that none of this is meant to depict Alastor as some poor woobie. He’s still awful. He’s in Hell for several reasons and being a serial killer is only one of them. Rather, I want to analyze what is shown to us about him, and how those story beats can be used to determine where he’ll end up by the finale of the series.

ALSO NOTE: I haven’t followed all of VivziePop’s comments outside of the show about the characters, and it’s possible that certain details have been changed between the release of the pilot and the show, so take any mentions of what hasn’t been explicitly depicted within the show with a grain of salt.

___

Part 1: Recap Analysis

This section will consist of commentary regarding Alastor's appearance and behavior in the given episodes, with retrospection based on new information given in later episodes if needed.

“Overture”: Alastor is pretty one-to-one with his depiction in the pilot in the first episode. He’s snarky, open about his sadism, but helpful if begrudgingly so. Interestingly, he’s able to put together a well-edited, if tonally awful, commercial, and probably could have done better if he weren’t intentionally being an ass about it. From the finale we know that he and Vox likely used to have a more magnanimous relationship, and it’s likely that he picked up some tools of the digital trade in that time despite or before being turned off completely by it.

“Radio Killed the Video Star”: Vox effectively plays heel for Alastor this episode as we continue that first impression of the Radio Demon. We spend a good time showing off the former’s power and how far his roots have spread throughout Hell’s society, only for Alastor to effortlessly trounce him and steal from his audience, despite being gone for so long and his position in Hell less stable. This indicates that Alastor does still have pull, but at the same time that his position in the hierarchy of Hell is being contested due to the length of his absence. He deals with it easily here, but we’ll see in subsequent episodes that things aren’t as smooth as they first seem.

“Scrambled Eggs”: In terms of the eggs, there’s not much to talk about. He begrudgingly accepts Vaggie’s request to get rid of them “humanely,” but brings them back to the hotel after they prove to be useful spies.

More importantly, we get our first small hint that Alastor’s ego can be bruised when Carmilla doesn’t humor him during the meeting between Overlords. Now, I actually disagree with a lot of the takes on this episode in that I think it indicates that at least some of Alastor’s views and need to prove himself as a powerful Overlord are the result of self-delusion. Yes, he does need to reestablish himself as a person not to be messed with after being gone for so long, but I think it isn’t as bad as some are making it out to be, which makes his behavior in later episodes more strange and excessive if anything.

Carmilla, who mind you is a busy and stressed woman trying to hide the fact that she’s successfully murdered an angel, hits his ego by not caring where he’s been (something he wouldn’t have revealed in the first place), but she also welcomes him back, which is more than you could say to Velvette and by extension the Vees. And minutes before that, Zestial, who’s probably the highest on their totem pole, does go out of his way to meet with Alastor and inquire about where he’s been. Alastor himself gets over the slight pretty quickly and has no issue contributing to the meeting. Overall, he isn’t necessarily terrifying other overlords, but he still has an established place with them and they do seem to get along well enough. He’s “part of the group” unlike the Vees, who are treated more like upstart outsiders.

I also want to point out that despite Zestial likely outranking Alastor in power, they seem to be alright with each other. Alastor is cordial and does not demonstrate a desire to antagonize him like he does Lucifer in the next episode. Speaking of which…

“Dad Beat Dad”: This episode gives us a lot to chew on and is the first major indicator that Alastor’s issues go beyond wanting to be the center of the room. From the very moment Lucifer walks into the hotel*, his eye is twitching and he is visibly pissed. Lucifer undermining him (notably contrasting Zestial, who is polite despite his power) doesn’t help and makes Alastor let loose his first swear in the entire show. Being the petty bitch he is, Alastor, knowing he can’t intimidate Lucifer in any way, immediately goes for his weak point–Charlie–and plays up the role of a caretaker for her and the hotel. It’s a low blow, but it also feels like a defense–he’s signaling to Lucifer that this is his hotel, that things are taken care of already, and that they do not need his assistance, even though they ultimately do in order to get a meeting with Heaven.

But then things get more complicated with the appearance of Mimzy, who, to the surprise of several characters due to his solitary nature, was friends with Alastor all the way back when they were alive, and she carries a load of implications with her. She’s the only crack so far at what a “human” Alastor is like–apparently he’s a heavyweight drinker, a good dancer, and most notably, in Mimzy’s words, a sweet man who "becomes a kitten" when he's drunk. This is a huge departure from the unflappable, egotistical Radio Demon we’ve known up to now, and I think it’s a purposeful choice that we’re hearing this information but not shown it like his early days in Hell just prior. It’s simultaneously left to the imagination but difficult to do so because it contrasts so heavily with everything that has been shown to us beforehand. Another thing is that Mimzy is sure that Alastor will clean up her mess–and apparently this isn’t the first time he has, if Husk is anything to go by. So many people seem to miss this, but Alastor, who hates being tied down or disrespected, has been allowing Mimzy to leech off of him, presumably due to their past friendship making him turn a blind eye.

Alastor is on edge for this entire episode and is already unusually snappy when Husk addresses Mimzy, and pushing the button that was his contract is what sends him over the edge. His temper exploding is a direct result of his feeling that his control over both the hotel (via Lucifer) and his personal life (via Husk’s “doubt” that he can handle everything and that his reputation is what it used to be, plus the reminder of his deal) is being taken away from him. Alastor’s threat to Husk, which seems to not be his usual behavior if Husk’s willingness to show concern and talk back in the first place is anything to go by, is an attempt to remind both of them that he holds the cards, that he’s a powerful Overlord that is not to be trifled with, and he explicitly says as much when he goes out to deal with what Mimzy’s dragged in.

It’s only after he lets his anger out on the mobsters and “proves himself” that he visibly calms down and makes the logical decision to tell Mimzy to leave with a serious attitude, and also doesn’t antagonize anyone for the rest of the episode. It seems like despite his fury earlier, he was listening to Husk, who’s rightfully smug about it. He’s even present when Charlie declares her desire to protect her people, and his smile seems just a tad bit more genuine.

*Note: it’s not impossible that Alastor has some sort of personal grudge against Lucifer which caused his hate-on-first-sight, depending on the circumstances of his disappearance and contract (i.e. if it’s with Lilith).

“Hello Rosie!”: As opposed to Dad Beat Dad, Hello Rosie is arguably where we see Alastor at his most in-his-element. He gives off a lot of conflicting vibes at the beginning, from mocking Charlie’s distress to, in a shockingly honest moment, lecturing her about the importance of a smile to portray strength, a card we’d only been shown due to comments outside of the show. He smugly holds his knowledge over Charlie’s head but is visibly impatient to have her make a blank check of a deal with him, solid enough to benefit him but vague enough so that Charlie won’t feel immediately threatened. He’s clearly been waiting for an opportunity like this since the events of the pilot.

After that, he puts back on his gentleman’s demeanor and introduces Charlie to Rosie, and from here on he’s arguably at his most comfortable in the entire show. He’s relaxed around Rosie and is actually willing to ask for her help (something I can’t see him doing with any other character), casually complains about Susan, is encouraging to and praises Charlie even behind her back, and most notably, gives her his radio cane unprompted. More on that later. He also mentioned wanting to guide Charlie to Rosie specifically, implying that he was being genuine about wanting to act as a mentor to her, though his intentions are probably self-beneficial.

“The Show Must Go On”: The finale is arguably the most revealing episode on what Alastor’s inner world is like, as we see him unmasked several times. For one, his private admission to Niffty, the closest thing he has to a friend within the hotel, that he’s enjoyed watching the other residents connect to each other. This is in direct opposition to his initial (stated) reason for helping the hotel in that he wanted to watch them all fail, and yet he seems content with his initial assumptions being proven wrong. There’s no malice or sarcasm in this moment, he’s relaxed and talking to someone he relatively trusts.

And so he goes into the battle swinging and confident. Then, of course, Adam.

I want to bring up something before we keep going. Yes, fighting Adam without angelic weaponry was a needless risk. Yes, Alastor fell victim to the very sloppiness and arrogance he accused Adam of, and it’s thematically appropriate that he was the only one to lose his battle in that he was fighting for his own ego more than “love.” But also, people seem to forget that Alastor is the only demon in the entire show with a precedent for permakilling without an explicit reliance on angelic weaponry, as the Overlords he toppled in his original rampage seem to have never returned. He’s egotistical, but not stupid. He may have genuinely believed that he had the means to kill Adam himself but didn’t get the chance/couldn’t due to his contract or absence possibly weakening him. But that's speculation for another day.

So, he has to retreat before Adam double-taps his ass and is too injured to return until after the extermination. He makes a grand exit, but not before grabbing the broken pieces of his radio cane. The one he allowed Charlie to use just an episode prior, and presumably is a conduit for his powers, and he grabs it while a murderous angel is inches away from wiping him off the face of Hell.

His portion of “Finale” is the first time we see him singing alone and not playing off someone in a duet. It’s obvious that he’s trying to keep his composure, still speaking to himself in his artificial transatlantic accent (which we now know for a fact he doesn't need to do, seeing as he finally broke character when Adam wrecked his cane) and reassuring himself that he’ll come out on top next time. But here his front shatters and we openly see what the show has been hinting he is for the first time: a deeply paranoid, desperate, and unstable man.

Essentially the worst-case scenario has happened: after a season of interfering with every attempt to capture him on camera, Vox has footage of him at his lowest point for all of Hell to see, and he’ll have “died” a martyr, a weakling, and still in the chains of an unwanted contract. For Alastor, who is so deeply afraid of showing any sign of vulnerability, who wants to be seen as a monstrous Overlord, it’s understandable that this humiliation is enough to send him into a mental spiral and recant any fondness for the hotel in favor of accomplishing his own goals. Worse yet, when we next see him he gives zero indication of any of this even when Charlie and company are simply glad that he's alive, which leaves us to wonder: has he been like this behind the smile from the very beginning?

___

Part 2: Closing Thoughts and Future Speculation

With everything we’ve taken note of above, we can start to piece together a picture of who this guy is, and what the writers are going to do with him.

Alastor is sentimental. It’s not just his attachment to older technology or his love for being the center of everyone's attention. He likes being around people, he has friends, one of which he continuously indulged despite her using him multiple times, and he ultimately was starting to enjoy his time at the hotel before his defeat spooked him. Despite him using her, the fact that he was even willing to let Charlie use his cane (and note that he takes it from her as soon as she’s given a substitute, so that is a significant gesture for him) is an implicit display of trust whose implications don’t become apparent until the finale.

But this is paired with deep insecurity. Alastor, despite being one of the most powerful people in the Pride Ring, has a crippling fear of being seen as vulnerable or “lesser” by others. There could be multiple overlapping reasons for this: the general climate of Hell, whatever happened to him seven years ago, his experiences as a mixed-race human living in Prohibition-era Louisiana, his original death, a natural predisposition, etc.

Regardless, this anxiety of his is so overwhelming that, when paired with the ever-present stress of not owning his own soul, it’s driving him insane. He made a splash in Hell upon entry and now he’s desperately trying to reinvoke that in order to defend himself both physically and mentally. He’s the gifted kid who’s slowly going nuts trying to keep up an impossible momentum as they grow older. He’s an ex-human denying his humanity because he doesn’t want to feel human. Everyone’s out to get him, and anyone who could be an enemy is an enemy unless he has total control over them via a contract, power, or the reassurance of years of close friendship. It’s why he’s cordial to Zestial but takes Carmilla (who wasn't even trying to spite him) and Lucifer’s comments personally, in the same way someone with low self-esteem might want to lash out against an authority figure who they feel is looking down on them.

Worse yet, he can’t/won’t let these feelings out and is bottling them up so that no one will know he feels this way (note how quickly he was able to relax in Dad Beat Dad when he was given an outlet for his stress), because that’s a sign of weakness too. It’s honestly kind of frightening that in his final scene he gives zero indication of being injured or of just having had a meltdown. By all outside accounts, he’s his usual chipper self, and no one at the hotel save for maybe Husk, who can’t say anything Alastor doesn’t want him to, would realize anything is amiss. The reason his part of “Finale” is chilling isn’t just because of the implications that he will become an antagonist in the future–it’s that his mental state is so poor that he is no longer acting rationally, which makes him unpredictable in the worst possible way.

I think Alastor’s character arc isn’t going to be redemption by way of going to Heaven, I don't think that place is his style anyway, but rather redemption of his own self-image. I don’t think the writers would make what is arguably the most popular and well-developed character in the show just to say that he’s hopelessly evil and simply end it at that. We’ve been exposed to multiple facets of his character, and while his deeds and probably his intentions are sinister, his underlying motivation for it all seems to be “freedom,” which decidedly isn’t (unless your name is Eren Jaeger).

I do believe that he’ll have his villain moment where he indulges in his worst impulses, but that ultimately it won’t do anything to fulfill him, because as we see in the official comics before the release of the show (which may no longer be canon but still give a viable “baseline” for the characters), when his desire to be feared and respected is granted, it only isolates him. Like the others, he’ll have to hit rock bottom before he can climb back up.

Pentious, who was successfully redeemed, needed to understand that people weren’t out to get him, which allowed him to make the decision to put his friends before himself and trigger his selfless sacrifice. Angel, who’s well on his way to redemption, needed to realize he wasn’t alone and could rely on others, and his confidence and self-love has grown enormously since then. I think these are both lessons Alastor will need to learn eventually as well. He’s the manager of the hotel, but also undoubtedly a patient. He’s hungry for freedom, but only when he learns these lessons will he be truly free.

Or maybe I’m thinking too much into it idk lmaooooo

#hazbin hotel #hazbin theory #hazbin hotel theory #hazbin analysis #zestial morde #carmilla carmine #lucifer morningstar #hazbin lucifer #charlie morningstar #hazbin hotel rosie #hazbin alastor #hazbin hotel alastor #alastor #thank god i finally released this now i never have to think about this show again #that tragic feeling when the tumblr sexyman bait is the best character in the show #alastor does not have a blanket hatred for everyone who's more powerful than he is #if he did then he'd despise charlie too and genuinely doesn't seem to #rather it's towards ANYONE whether stronger or weaker than him who refuse to acknowledge him #oooooooh this boy's got a complex but he's a VivsiePop character so it's par for the course #but anyway some of the takes people have made on him are abysmal to me so i wrote my first tumblr post in a decade

363 notes · View notes

bekolxeram · 1 month ago

Text

Long sigh......

I've heard that one of the most problematic bnf from the other side of the fandom claimed on Tiktok that Tommy wouldn't be part of the emergency landing rescue because "the controls (of a helicopter and a jet airliner) are different". I know I made a whole thing out of Tommy being a helicopter pilot instead of a fixed wing one. (I even made up a sunshiny airplane pilot ex boyfriend for Tommy, that was fun while it lasted) I have no idea how that bnf makes the logical leap that if Tommy isn't physically solo flying that plane, then he won't be involved at all. He's still a firefighter working with aircrafts at an airport. Unless the writers for some reason don't want Tommy to be in the episodes at all and pull the "not on duty" card, it would actually make less sense for him not to be there.

You know the drill. Don't read further if the discussion of Tommy not being able to fly everything bothers you. Block the tag #aviation realism if this whole topic doesn't interest you. I've hesitated a lot whether I should post my thoughts on this, but I guess this is the last chance to speculate, so here goes nothing. This is my specs for Tommy's involvement in the plane disaster.

First, I want to clarify something. I never said Tommy wasn't on the plane in 2x14. If by flying that plane, you mean actually taking the pilot seat, grabbing the yoke and executing risky low altitude maneuvers over mountainous terrain, no, I don't think Tommy can do it. The thing is, operating an aircraft that size requires a whole team, up to 5 in this case. I can totally imagine Tommy onboard sitting behind the pilots, helping out with navigation or precise drop coordination.

youtube

It's possible, even common to transition from flying rotary to fixed wing. JetBlue and Frontier both provide rotor transition programs to veterans, I've also seen a former Army Blackhawk pilot now flies the C-130 for the Coast Guard. Training ex-military pilots to become commercial airliner pilots has a higher success rate and takes less time than training a regular civilian. But you see the problem, none of them have been working as an active firefighter for the past 20 years.

Let's cut to the chase, I don't think Tommy will be landing that plane. In the original film, they decide transferring an Air Force pilot into the crippled 747 is the only option, because they think woman dumb Nancy can't handle it. Aviation technology has come a very long way since the 70s. This MythBusters episode from 2007 proves that not only is it possible for a complete novice to land a jet airliner by following verbal instructions, modern planes are so advanced that they can practically land themselves.

Sure, there probably will be some major damages to the systems needed for a normal landing (landing gear, flaps, brakes, thrust reversers) rendering an autoland impossible, because drama. But then you run into the problem of where the hell is the Air Force. Last season, the Coast Guard was busy rescuing other ships stranded at sea so some LAFD firefighters had to steal a helicopter to search for a cruise ship that didn't call for help. This time, a passenger airliner without its flight crew has a very real possibility of crashing in a densely populated urban area, the whole incident is also reported live on TV news, how can they explain the absence of the Air Force? Even assuming no commercial pilots in the area, including the ex-military ones are willing to do such a dangerous stunt and tether into the cockpit from outside, what's stopping the AIr Force pilots?

I don't think Tommy will be the one instructing Athena through the landing either. You run into basically the same problem. There are plenty of flight instructors of that exact model of aircraft out there better suited for the job. Flying a modern airliner, especially an Airbus, is more like flying a computer than an actual plane. You need someone with intimate knowledge of the plane's flight control systems in order to talk a non-pilot through operating it.

I know, I know, I'm being a killjoy right now, I'm worse than the Tommy haters and I should shut the fuck up, but even if we're going 100% realistic, referring to real life aviation incidents of this scale (Yes, I'm talking about JetBlue 292 again), Tommy is especially going to be part of the rescue.

Real!LAFD deployed a few helicopters in the JetBlue sideway nose gear incident to monitor the airfield and to help coordinate ground personnel/equipment, with a couple more standing by on the ground in case anyone on the plane needed emergency medevac.

I think the first officer might need a chopper ride if they want to save his femoral artery.

In the same incident, a local news copter also helped survey the landing gear issue from the outside. Tommy's helicopter can do that as well.

It's getting too long, but I have a few out-of-universe reasons for why Tommy will likely not play a super major part in this plane disaster arc, I'll just speed through them: Tommy's not a main character when screen time is already tight for the mains (I'd prefer to see him more in later Buck centric eps), he's already saved the day last season, I think production has blown all their budget on the airplane sets, the new trucks and the CGI bees already that they can't fit a helicopter in. (Let alone to replicate the original pilot transferal scene, it was a real stunt, they really got an AIr Force helicopter to dangle a stuntman in front of a flying 747. It was dangerous and hella expensive)

I actually hope Tommy would be working on the ground this time, I would kill to see him working with Buck and the 118, and not in the sky doing his own thing.

#Just want to let it all out at the last possible moment #I'm queuing this for later and logging off for the rest of the night not sure I want to face to music yet #sharing aviation stuff related to Tommy now fills me with dread #911 speculation #911 spoilers #911 meta #bucktommy #tommy kinard #aviation realism #911 abc

63 notes · View notes

lxmelle · 7 months ago

Text

Geto was loved even in death.

Wouldn’t it be nice if he were judged by his intentions in the afterlife - wherever that was? He had suffered living with the love he had. We see through the eyes of those left behind, that the ill deeds didn’t define him, as strange as that may be to us as readers in the real human world we live in. Geto’s influence and loving nature were far reaching; Gege certainly made him so treasured by many even after his death. If Gojo was touched by his caring influence, this was also Geto’s will he passed onto his students.

NOT spoiler-free as I’ll be referring to the recent chapter, 255.

I wrote this the other day:

And honestly it’s long enough; here’s part 2.

Is it obvious I’m suffering from brainrot? All my drafts from jjk brainrot are rivalling my thesis/dissertation from way back (lol)

Here is more under the cut:

I’m really moved by the reasons for why Miguel and Larue have decided to join in the risky fight against Sukuna.

It’s very obvious that Miguel is reluctant at first. He says he he’d rather terrible curses arrive at his shores than to fight with Sukuna, adding that he doesn’t see himself having any ties with Japan any longer.

We can deduce that this was part of Gojo’s plan for the possibility that he dies/loses, and I had a post about this saved in my drafts - but I guess I never got around to finishing it. Basically, in sum, he will achieve giving Geto a cremation (avenging him) and gets to show off to his students (which he does enjoy) by going all out (soo satisfying), and in the worst case scenario, he loses but gets to go all out, weakens Sukuna (for the rest to handle), and idk if he really is that romantic (so it’s really stsg headcanon fantasising) he will die on the same day as Geto.

The Opening theme is rather beautiful in that it interprets Gojo having the words, “we’ll meet again” stuck in his throat, which he doesn’t say. But I’m a bit weird and tend to separate anime from manga. But it’s worth noting that here.

I digress. Back to Miguel and Larue who have moved to speak privately without Yuta.

In a previous post I wondered aloud about what Yuta knew about Geto from others aside from being villainous and I guess this implies he doesn’t know much, since he wasn’t close to Miguel enough to sit around to chat with them. It makes sense.

Miguel and Larue both agree they followed Geto in jjk 0 because they wanted to see him become King. What does this even mean, really? Gege, you’re missing stuff out again!

Nevertheless, we understand how reluctant Miguel was. He enquires that Larue intends to do, clarifying: is it for revenge or to take Geto’s body back?

And it seems like their main motivation for putting their lives on the line... is to honour Geto’s memory. Like a traditional ritual one makes for the dead (customary in Japan on death anniversaries - not limited to the year, but also number of days).

It’s incredibly moving how much they love him. This is actually what led Miguel to reconsider. We see him go silent as he thinks “...” before he reaches a moment of clarity/a decision.

Tbh I have issues with interpreting his statement in between the two panels (re: hell) in Japanese - it doesn’t directly indicate if he is referring to the former part of the conversation (whether he thinks Geto is in hell), or the latter (he thinks the battle will be hell). The phrasing goes like this: “no matter how I think about it: it’s hell.” - I’m not a native speaker so it’s difficult for me to be certain which is right. But the consensus is as translated above. Larue thinks Geto is in heaven, Miguel thinks it’s hell, and we see the airport scene where presumably Haibara and Riko with Kuroi have been there for over a decade. lol. Who knows!

So the bottom line is… regardless of where they think Geto ends up in the afterlife, Miguel is willing to give Geto a send off that’ll even reach hell. Or, despite it going to be hellish, he will do it. It also seems so heartwarming how they still emphasise family and friendship in wanting to fight together - perhaps things we can surmise had meant something to Geto.

They will fight Sukuna because it is for Geto. Geto was so loved that they would risk themselves - not for a title, not for revenge, but out of … love. Again. That’s pretty damn loving. Can we imagine what Geto did and was to them, for them to experience such loyalty and reverence?

Sadly, it goes without saying that Geto’s body being used as a vessel and puppet by Kenjaku has possibly evoked an emotional response by those who cared for him - namely Mimiko and Nanako, and also Gojo. Arguably, even if it were a death without his body being hijacked, Gojo did refuse to cremate his body or have it processed “by the book” of jjk high through Shoko. If that’s not out of a form of love (or “consideration” as Kenjaku put it), I don’t know what is.

The twins went against what Geto wanted for them (to carry out his will) to fight against immensely power beings in hopes they could bring him home. Those were their reasons to fight. Gojo scheduled 24th December - this was after he teleported to Kenjaku immediately upon unsealing so he could bury Geto. We saw Larue and Miguel’s. Toshihisa is alleged to be quite weak, and despite potentially being considered a son to Geto (if his life situation did mimic that of the twins’ - source: jjk character book), he opts to follow the inherited will as prescribed by Geto.

It’s all love. Geto was loved, I’m telling you. I want to shout if off the rooftops because that man just looked so darned sad and deranged after he lost it.

So. Continuing where I left off: Everyone thus far has had a reason to go into battle with Sukuna. I wonder what / who will actually reach him? I hope it’s Yuji ... and that Megumi will react again at some point. They have their own themes relating to love and purpose. I’ll leave them to someone else more familiar with their characters to write about!

And now I’m going offside quite a bit, but it’s still of relevance to Geto and the theme of love that seems to surround him. Way back to jjk 0 and Hidden inventory.

I wanted to just bring this into the picture as well now that I’m already writing a post on that topic, but please feel free to stop if you’re bored now.

So. Jjk 0!

There were direct parallels with Yuta & Rika and Gojo & Geto. This was also confirmed by the director when discussing their vision for the movie. The light novel also drew a link between Geto and Yuta where they were described as being too sincere for this world.

There is a direct theme of love - the type, is open to interpretation.

Kenjaku also makes reference to this in the Shibuya arc. So to me, it remains relevant. Love in its many forms is somewhere in what Gege wishes to convey thematically.

Within jjk 0, Geto seemed to pursue power but this was also a symbolism where power = love. It is twisted. In light of recent events, we know that the pursuit of power leads to the dilution and even absence of love. Love that gives birth to power becomes cursed. So it seems.

As we know, Yuta bound his lover to himself to gain power.

If only he had Rika (metaphor for love: Gojo) he probably wouldn’t have had to skulk around the shadows consuming curses which he hated doing. Geto was lamenting on the past in the above panels. He probably was determined to carry on, as he vouched to give it all he got (Haibara’s last words to him echoing here).

A flashback to the past:

Geto doesn’t do things in half-measures. To avoid hypocrisy, and I headcanon that it was a merciful killing to protect them from him, he kills his parents. To die by his hands than to be used as a pawn to get to him. For them to see the horrors their son could be capable of. It is so very wrong, and we can see the twisted nature of his love in this interpretation.

And Gojo delivers the ultimate blow that leads to Geto reflecting - depicted by the mysterious ellipses “…..” (gege really likes the reader to work hard huh) - insinuating it is impossible for Geto, so don’t even bother trying. The blossoming possibility of discourse was nipped, as the strength differential was implied - you’re the strongest now, whereas it used to be “we”. There was no more place for Geto; it was probably a misunderstanding. Gojo was protecting everyone in his own way, and the only way he knew how.

For power, Gojo was a source - but Geto couldn’t do that in Shinjuku, nor earlier in the arc, when Gojo himself was on the brink of insanity and deferred to Geto about annihilating humans as he held Riko’s dead body. Geto in the scene above acknowledges their different paths they needed to take - Gojo had a place as part of the elite at the school - Geto was already facing an execution order.

And after hearing Gojo’s condescending tone in an emotionally-fuelled attempt to reach out to him. He turns away to protect his friend from himself, and himself from his friend. Anyway, I touched on this in my previous post. Geto feels they had fought and didn’t deserve a place next to Gojo. But deep inside, even his body remembers the sound of Gojo’s voice, reacting to it when called despite his soul no longer being there.

sigh. Moving on... back to jjk 0:

After witnessing the bonds through willingness to sacrifice and the love between these students, Geto was really moved. Gojo trusted Geto retained his sense of humanity / love / idealism - even if it would lead to him sacrificing himself.

He was finding it difficult anyway:

He could always empathise with love. I suspect he tried his best, but the binding vow for Yuta’s life was also just the cherry on top to make Rika super saiyan.

Kenjaku knew Geto probably could’ve won though, had he been more selfish.

Geto conceded without a fight with Gojo. Maybe it was a matter of trust in that they both knew his living on borrowed time. As the light novel insinuated, this was the only way it could ever end. And Gojo would have to carry the curse that was Geto. This seems... so cruel.

He did his best. He perhaps always wanted the love but set it free.

He did so many things for others in spite of himself, in sacrificing himself, in staining himself with blood drenched hands.

Avenging Riko by killing Sonoda. Note how manipulative “humans” are by using Jujutsu rules against them.

He embraces a life of smoke and daggers. Living in lies and half truths in order to live, survive, and find justice in a wicked world.

Watch me closely, I’ll protect you, I’ll avenge you, this is how you protect yourself.

This is the path I’ve chosen.

I’m not saying he was right or justifiable. His character is just tragic. The system had set him and others to fail.

The worm foreshadows Geto’s maternal nature. Calling him “okaasan”. I mean, this very worm had a binding vow with Toji. And now it calls for a new owner? I’m not sure if Gege had anything else in mind with this... is the womb protrusion domain Geto’s? But that’s tied to a sorcerer’s soul…. Anyway, I digress again. (Sorry). Geto did have a martyr complex and was written captivatingly well by Gege. The extra touches where how he has been perceived by others and the effect he has (and continues to have) on those we see.

And I just want to leave this heartbreaking thing here:

Source from twitter/now X:

Wouldn’t it be so sweet for Geto to get one (love declaration) at the end of his life, regardless of the way you perceive Gojo and Geto’s relationship?

Wouldn’t it be nice for him if he could know that his family who he instructed to flee had all loved him, adored him, and would honour his sacrifice in differing ways...

Instead, a form of love meant his body was desecrated and used by Kenjaku. His girls were killed, and his full potential was not quite realised at all.

If only things were different.

Gojo should have kept him in his basement!

But at least, I think, Gege is giving Geto some love even after his death.

For that I’m thankful.

And thanks for reading if you made it this far with my rambling!

If you want something more light hearted I have a fluffy fic up on AO3 (it isn’t great but i enjoyed writing it to fantasise about what happens at the airport) and if you want more angst and pain, please browse my tags (lol).

111 notes · View notes

dangermousie · 2 months ago

Note

I saw a post where you analyzed some details in Flower of Evil (particularly the relationship between the lead couple) and your analysis was super interesting.

I dropped that drama ages ago somewhere in the second episode because it just felt like things had already gone so horribly wrong that there was no possible way that it could be brought back to a story that I'd enjoy. I was wondering if you might be able to explain how that isn't the case so I should give it another chance, ideally without spoiling anything too huge? Or do you think my first instinct was right? If I couldn't stomach the first two episodes it probably just isn't the drama for me? My original interest in watching it was for the romance more than anything else.

I would love to analyze (always game for FoE freakouts) and address the issue but I think I could do it better if you clarified a little what you mean by "it just felt like things had already gone so horribly wrong that there was no possible way that it could be brought back to a story that I'd enjoy."

Is it a worry that there would be no happy ending (and one that feels earned/logical not tacked on) for the couple and/or ML (or FL), or that the progression of the relationship would not be anything you like or not given sufficient importance? Or something else?

If it's the former, while I can't say whether you'd like it or not because it's very hard to predict what clicks and doesn't for another person (I have like two mutuals where I automatically know if they like X, I am guaranteed to do so) but I can answer that:

(a) This drama has a happy ending that felt right and justified and not tacked on for me - in terms of both characters individually and the ship. They both go through hell but emerge into sunshine on the other side; by the end of it, Hyun Soo knows exactly how much he's both known and loved by Ji Won (and it's huge for a man who believed on a deep level nobody could possibly love someone like him nor should they) but also he's accepted that he himself is not a monster but is capable of love. And Ji Won loves her husband as much as she did at the start and has proven exactly how much and this time it's based on true knowledge of all of him - because before that she loved him for what he was (his characteristics were all true even if his background was not) but now she knows exactly the traumas and events that shaped him and the issues that haunted him and...she still sees the slightly odd, quite introverted, very caring man she fell in love with. It's a process, she thinks things through and it takes her time to get there, it is not linear but it is so thorough and glorious. She basically goes with her whole behavior: I see you fully and I know you fully and because of that sight and knowledge I love you MORE. And he processes that but also, in an even huger emotional shift, he realizes that he loves HER, that he's always loved her, he just had no vocabulary for it and no ability to process that this is what he felt due to all the trauma and gaslighting and what not.

(b) This is a romance drama. Oh, it has a good plot with its share of mysteries and mini-mysteries, and it's a great character study and has a lot of other interesting things to say. But ultimately, it's a romance. It is centered not really on the mystery of who Do Hyun Soo actually is, or who was/is committing various murders, or when Ji Won would figure stuff out or w/e - it focuses on a relationship between husband and wife who desperately love one another. This drama had an INSANE fixation with shots of their wedding rings and it was for a reason because this is the story of their marriage more than it is anything else.

It actually features a trope that is very much my catnip and narratives (outside of Gong Xinwen novels) don't do often enough - where the woman is the rescuer and the white knight and the savior and the man is this beautiful, oddly fragile (despite being competent and potentially deadly) being in need of rescue. And I don't mean just in the metaphorical sense - she is the reason DHS still has his sanity and found happiness and healing - nah she rescues him in the most physical way possible, from drowning, from various other acts of harm. In a way, Ji Won and Hyun Soo are a noir couple with genders reversed - a tough pragmatic detective and an alluring romantic partner with a mysterious past and ambiguous in terms of morality vibe, a homme fatale. But who (which also happens in some noir), turns out an abused, gaslit person who needs saving and who has honestly is owed by the world for all the hell it put him through.

Once again, I can't say if you'd like the drama - but the above is why I love love love love LOVE it and thank you for letting me have a chance to rant.

#asks #flower of evil #kdrama

32 notes · View notes

jotun-philosopher · 5 months ago

Text

A narrative clothesline

The following ramble isn't what I think is *likely* to happen in S3; it's more of a narrative clothesline that my brain has constructed almost completely independently of any conscious effort on my part, influenced by various metas and my own and others' speculation, and it serves as a thing onto which I can peg images and vignettes and headcanons that I really like. (My brain is a very interesting place and tends to make stuff up without me noticing...) This gets VERY LONG, so have a bookmark handy!

Wackiness under the cut! Also torture, psychological abuse, violence, PTSD -- tread carefully.

Now, on with the motley!

***

Long, long before any sort of beginning, eons (if such temporal vocabulary makes sense here, given that time hasn't been invented yet) before a certain flame-haired starmaker realised he needed a hand with his blueprints, the Archangels Raphael and Azrael become suspicious of the Metatron and his interpretation of the Great Plan, becoming the first two angels *ever* to question when they start probing his motives. The Metatron takes great exception to this, and by the time he's finished with them, there isn't enough left to make two whole angels. Scenting a possibility for experimentation, he stitches these remnants together into a single new angel of lesser rank, who he hopes will be more compliant and biddable.

...Okay, you can stop laughing now.

[Main Titles]

See, in modern times (a couple of months or so after Gabriel's shock resignation), the Supreme Archangel "Raphael" -- resplendent in elaborately draped robes of Heavenly white (difficult to run or defend oneself in) with wide bands of elaborate gold decoration at the wrists and high collar (which, looked at another way, resemble symbolic chains) over bare feet (terribly angelic, but a classic way to humiliate captives while making it harder for them to flee). The overall effect is of regal, ethereal magnificence and dignity -- unless you know the full context, in which case the clearest impression is one of mockery, contempt and "We own you -- mind, body and soul -- and can do what we like to you with absolute impunity. Think about that before you consider rebelling."

The facial features and shock of fluffy white hair are heartbreakingly familiar, the utterly blank facial expression and stiff, upright demeanour less so. His voice, when he speaks, is many octaves below the 'soft bookseller' tones one might expect. Also unusual is "Raphael"'s tendency, when unobserved, to stare into space while touching his mouth or fiddling with a mysterious silvery trinket; otherwise, he goes about his duties in the manner expected of an Archangel, knowing only what he needs to know to prepare for the Second Coming. Which means that when his predecessor in post and a former Duke of Hell sneak in via an unregarded rear entrance to plant bugs, "Raphael" doesn't notice or react to them at all!

Cut to Crowley sprawling on a bench in some rural area, brooding deeply and looking portentously undisturbable (his native optimism is taking a while to rev up after the recent emotional whammies). When someone unexpectedly stands between him and the sun, he starts to snarl at them, only to be interrupted by a cheery, "Party name of Crowley?" Crowley leaps up, startled, accusatory and hostile, but the International Express delivery guy hastily clarifies, "It's ok, sir, just a mundane delivery -- but the lady was very specific about where to find you." Crowley (recognising the style) simmers down enough to take the letter with some grumbled thanks, opens it and is stopped in his grouchy tracks by a reference to the body swap that could *only* come from someone deeply familiar with the Nice & Accurate Prophecies.

Attention thoroughly caught, he scans the rest of the letter, swears in ancient Sumerian and bolts for the Bentley, nearly colliding with four startled, nervous-looking angels in militaristic garb. Crowley reaches for his crank handle, but then notices odd details -- the large wooden box one of them is holding, the dishevelled state of the uniforms, the insignia, all four of the angels bowing to him with deep and genuine respect... "Hang on, you lot are from Aziraphale's old platoon, aren't you? What the blazes are you doing here?"

The angel holding the box stutters in fright for a few seconds, but manages to get out, "Th-The L-T... He's...not exactly dead, but we're not sure what the Metatron did to him. W-whatever it was, it was bad, so we, that is the platoon, got together and drew lots and we gathered all the L-T's personal effects we could find and deserted..." The angel proffers the box to Crowley, while one of the less-intimidated angels explains, "You're effectively the L-T's next of kin, the whole platoon saw him desert in favour of you during the last go at Armageddon, and we've decided we respect him and you more than we fear the Metatron."

Crowley is very impressed, and says so. "But what about the rest of you?"

"They're back Upstairs, keeping watch over the L-T in case of untoward developments."

"Rrrrright... Oooooookayyy... I take it, then, that you're willing to take orders from me until the Second Coming is foiled?" The deserters nod. "Right, in that case -- you know where the Bookshop is? Meet me there, but don't teleport directly; it's too easily traced." The deserters salute crisply and set off flying, while Crowley climbs into the Bentley and takes a moment to investigate the box. It does indeed contain Aziraphale's clothes and personal effects, and he spends a couple of minutes just holding the familiar old waistcoat against his cheek and inhaling its scent, before starting the engine and veering off at speed. He's so awash with emotion that the one item missing from the box doesn't immediately register...

Back in Soho, things are fairly slow in Give Me Coffee Or Give Me Death, so Nina's got time to chat with the customers. They're interrupted by the sound of a recklessly driven 1933 Bentley blaring Velvet Underground dopplering up the street in their direction. The Bentley turns within its own length and slips neatly into position outside the Bookshop, before disgorging a goth-punk redhead and a snatch of vocals -- "RUN RUN RUN RUN RUUUUN". The redhead slams the door, hefts a large box under his arm, yells, "FUCK THA SECOND COMING!!!!! HAHAHA!!" skyward (with accompanying hand gestures) and swaggers into the Bookshop as if he owns the place. Following a stunned silence, the customers ask, "Who...was that?" Nina replies, "Oh, that's Mr Crowley. He's one of our local, uh, characters. Basically co-owns that bookshop with his husband."

Inside the Bookshop, Crowley calls, "Oi, Muriel! You there?" and is answered by a nervous squeak from a pile of books on the mezzanine. He leaves the box by the till, bounces up there and glances from the haphazardly stacked volumes to the extremely worried scrivener hiding behind them. Plopping comfortably on the floor, he asks, "Lord of the Rings, eh? [waves the book in question] How're you getting on with Tolkien?"

Caught a little off-guard by Crowley's sudden appearance and friendly demeanour, Muriel replies, "Um.. I-I-I... It's good, but I found it a bit overwhelming. I-I liked the bit about the elves only guarding their forest, not ruling or owning it, though."

"Yeaaah, Tolkien's style can be a bit much if you're not used to it. He was a pretty interesting guy, though, great linguist. You'd've liked him. Anything else grab your interest?"

Muriel brightens up a little. "Yeah! The Discworld stuff is great! There's so much there to think about that I hadn't even considered before! There was this bit in one of the later ones, about sin being treating people as things, and um, I..." Crowley gestures for them to continue. "Well, it got me thinking about how the Metatron was before, with the stuff in the trial we saw, and just telling Mr Fell that I was going to be in charge here without giving him a say, which is a big overreach and a kind of theft, and I think the wards are damaged but I can't fix them myself because that would really be theft, and I think the building's a bit sapient and resents my presence, and I haven't opened or anything because I don't know how bookshops work and don't have Mr Fell's permission to sell things, and I... I don't want the Second Coming to happen because there are so many books I haven't read yet!!!"

Crowley makes a 'simmer down' gesture. "Okay. Taking it from the top: Thinking is always good, never stop doing it. You're absolutely right about Heaven and the Metatron sinning by treating people as things. We will need Aziraphale here to reset the wards, but there're ways to shore them up without committing metaphysical theft. This building may well be a bit sapient, like my car, because Aziraphale's put so much time and love into it. If you're truly against the Second Coming, then you have my permission to be here. Aziraphale actively tries to avoid opening or making sales anyway, so you're doing fine on that front. Okay?"

He's about to say more, but is interrupted by a sound from outside that could be described as "a six-foot-tall cat played by John Hamm negotiating the expulsion of a particularly obstinate hairball while in extreme emotional distress".

Of course, what is actually is, is a certain renegade Supreme Archangel who's seen something that's upset him to the point of dry heaving and loud emotional meltdown: "THEY KILLED HIM!!! THEY WIPED HIM LIKE THEY WERE GOING TO DO TO ME AND THEY PUT HIM IN MY OLD JOB AND THAT SOMEHOW MAKES IT WORSE!!!" Beelzebub tries to calm him down, and they eventually succeed in directing Gabriel's attention to the Bentley, the Bookshop and the startled redhead leaning out of the doors.

It's a mark of the seriousness of the situation that Crowley lets them into the Bookshop without a word of snark. He directs them to the sofa, pours himself into the chair opposite and stares at them with a quizzically raised eyebrow. "Why'd you come back?"

Gabriel is still gathering himself, so Beez answers, "We got talking... We both have a lot to atone for, and Gabriel wanted to repay you and Aziraphale for your kindness better than he could have done when everything blew up before [Gabriel nods emphatically]. Then we reasoned that the destruction of everything in Armageddon round two would catch us wherever we were, and we'd be just as dead as if we'd been executed for returning..."

"...so we figured, what the heck, let's make it worthwhile!" Gabriel takes a slightly shaky breath. "So we came back to help you and Aziraphale mess up this Apocalypse, and we snuck into Heaven to plant spy flys [Beez smirks while Crowley does an impressed double-take], but then we saw..."

"Yeah, I heard you." Crowley pulls out the letter from earlier and hands it over. "Aziraphale's not dead, he's way too stubborn for that. We have more allies than you think, but we've got to plan carefully or we're stuffed. Speaking of allies..." He launches himself upright and swaggers to the door, where the deserters he met earlier have just landed. In something of a Regimental-Sergeant-Major mode, he says, "Right, you lot, this Bookshop is pretty much HQ for now, but the wards are damaged and we can't properly repair them without Aziraphale. Set up a guard duty rota covering all possible entrances and exits, at the double, but keep it discreet. Got that?" That done, he gently dragoons Muriel into helping him get his plants out of the Bentley and into his and Aziraphale's bedroom. When he's alone once more, he spends a few moments puttering around, sorting out his angel's clothes from the box (noting the missing bow tie with a twinge of sadness) and lining up the plants on the windowsill and anywhere else they'll fit. That done, he sternly tells them, "Right, you lot, listen up! You live here now, got it? So you'd better look nice for when Aziraphale gets back or else!" The plants visibly stand to attention as Crowley wields his plant mister threateningly, before gently spritzing their leaves.

Up in Heaven, "Raphael" has by chance managed to scrape up enough independent thought to wonder about the strange silvery trinket he's been holding on to without properly noticing its existence. Once the idea enters his consciousness, it won't leave, and he suddenly can't focus on anything else [the vibe and camera angels I have in mind are very 'Professor Yana properly noticing his pocket watch', but less evil]. He happens to still be holding it when he starts absently touching his mouth again, he accidentally swallows it...And there's a burst of mental white light, a garbled flood of memories -- Aziraphale is restored! He takes a couple of seconds to reorient himself, stretches his neck from side to side, wiggles his shoulders and generally limbers up to be a Chaotic Murder Hornet... Then Saraquel forcibly re-imposes the "Raphael" persona, but squashing Aziraphale inside his own mind rather than erasing him outright; she has her own plans regarding the Metatron, and can't afford to let Azzy be too chaotic too early.

Aziraphale is understandably furious and immediately starts testing the bounds of this latest development with subversive intent. (Beware the fury of a patient angel!)

Back in Soho, a day or two later, Nina's becoming increasingly worried about Heavenly and Hellish matters that she's witnessed or inferred; she's feeling a little awkward about contacting Crowley, but sends a message across to the Bookshop anyway. Crowley swaggers across the road in reply at about closing time (after a long shift monitoring the spy-flys), helps Nina carry some stuff inside, then sprawls in a chair with a raised-eyebrow Look. "Got your message."

Under the pressure of the sunglasses and the eyebrow, Nina quails a little, but says, "I... I owe you an apology." Crowley's other eyebrow goes up. "For raving hypocrisy. I shouldn't have tried to lecture you on how to run your relationship right after telling you off for doing the same thing. I'm sorry."

"We're even, then." Crowley sits up and leans forward. "There's something else, though. You're scared, about something you can't ask anyone else about. What is it?"

Nina hesitates, worried about sounding odd, then says, "You know Wintersmith?" Crowley nods emphatically. "I was reading it last night, and the part where Tiffany's critiquing a romance novel's depiction of a sheep farm made me think about coffee shop AU fanfiction and the stuff they get wrong -- like the characters running off in the middle of the morning rush to interfere in their neighbours' love lives -- and then I realised there're a few things about Maggie that don't add up, and there're angels and demons all over the place and WHAT THE HECK IS GOING ON???"

Crowley is more or less unruffled. Gently, he tells Nina, "I'm the last person to discourage asking questions, and I understand why you have them, but this is one of those situations where getting answers is a risk; you can't un-eat an apple and expect to get the same apple back afterward, and the truth you're asking about would probably look like cosmic horror from a human perspective. If you and any of the other Whickber Sstreet Traderss really want answerss, I'm prepared to give them -- say, tomorrow evening at the Bookssshop? -- but be very ssure you truly want to know. Ok?" Upon her confirmation, he takes his leave, sashaying back to the Bookshop as Nina starts to work out why he used an apple metaphor in particular...

The next evening, the Bookshop is more full of people than it has been for quite some time; the Whickber Street Traders & Shopkeepers have (as Crowley suspected) been wanting answers about what's going on since the Meeting Ball. He's trying to call the meeting to some kind of order when there's another knock at the door. Suspicious (everyone he was expecting is already present), Crowley approaches the doors just as two file cards are pushed through the letterbox, showing Prophecies 3008 and 5004. Once he's recovered from the surprise, Crowley tears open the door to reveal Anathema Device and Newt Pulsifer and invites them in without further ado. Introductions are swiftly made, and Anathema explains that she knew she'd be needed tonight to explain about Agnes, and wanted to take the opportunity to pass on the Nice & Accurate Prophecies card index to someone who'd truly appreciate it for what it is. She then has to shake Newt a bit, because he's been rooted to the spot, staring in awe around the Bookshop. "This place is brilliant! It's kind of the Platonic ideal of old bookshops! I... [excited squeak, gesturing]"

Flattered on Aziraphale's behalf, Crowley smirks, notes that it's kind of Newt to say so, then saunters over to the till and rings the handbell for silence. "I hereby call to order this Truly Extraordinary Meeting of the Whickber Street Traders & Shopkeepers Association. I know you all want answers about what's been going on, and you definitely deserve them. Where would you like to start?"

Nina raises a hand and asks, "That metaphor you used yesterday, about eating apples -- there was a reason you used that, wasn't there?"

"Ah, yessssssssss!" Crowley grins hugely. "An excellent choice! Imagine, if you will a desert, and within that desert, a huge walled garden with a certain tree in the centre. A certain demon has been told to 'get up there and make some trouble', but he isn't really used to being a demon yet and has doubts about this whole 'evil for evil's sake' business, so he does the least troublesome thing he can think of that fits the brief, finds the official response a tad excessive, recognises the cute Principality on duty at the Eastern Gate, slithers over for a chat, the angel admits to giving away his flaming sword out of compassionate concern, and, well..."

"Vavoom?" Gabriel seems to be trying hard not to squee too obviously.

"Vavoom!" agrees Crowley, not buying the act for a second. He proceeds to recount (in as concise a manner as he can) the 6000-odd years of his and Aziraphale's joint history, not going into too much detail on specific incidents, apart from the Job business (at the request of Gabriel and some of the shopkeepers who'd never liked the 'official' version -- Gabe's pretty good-humoured about how daft the whole affair makes him look) and somewhat on the Bullet Catch (to impressed noises from Mutt and his spouse). It's all surprisingly lighthearted until the account gets to the arrival of the Antichrist and the first Armageddon, at which point Crowley becomes focused and deadly serious, calling in frequent contributions from Gabe, Beez, Newt and Anathema (the story of the body-swap dodge gets a rousing cheer, though!) and emphasising that what ultimately resolved the crisis was humans being magnificently human. Things get even more serious when the explanations reach Gabriel's casting-out and the impending Second Coming/Armageddon v2, and once the story's finished, the Whickber Street Traders have a moment of overwhelmed silence.

Nina breaks the silence by rather numbly commenting that Crowley really wasn't kidding about the cosmic horror thing. Other traders join in, contemplatively noting that the Ineffable Husbands are humanity's unofficial godparents and the ultimate queer elders, and Mr Brown (who's old enough to remember both) remarks on the parallels with both the Cold War and the dark times when homosexuality was illegal.

The atmosphere is rudely broken by an indication that someone Upstairs wishes to speak to Muriel immediately. Beez, the shopkeepers and guests immediately dive for cover behind every available bookshelf, while Crowley and Gabriel throw Muriel candles for the summoning circle and take cover themselves.

Muriel greets the activated circle with a cheery, polite, "Hello, this is the Angelic Embassy in London, Muriel speaking, how can I help?" A familiar (?) silhouette forms in the light within the circle; the Archangel "Raphael" is checking in to make sure that nebulously defined preparations on Earth are going well, and he is in addition curious as to why there were so many humans in the Bookshop earlier. Muriel explains that they were hosting a shopkeepers' association meeting, adding on the spur of the moment that it's part of their Earthly cover. As soon as they mention that, "Raphael"'s expression visibly twitches and glitches, as if there's some fierce internal struggle going on, he hunches over, looks up -- and it's Aziraphale in control once more, forcing himself out from under the imposed persona and visibly terrified.

Gabbling with nerves and fidgeting agitatedly with his hands, Aziraphale delivers a frantic apology for messing with everyone's heads at the Meeting Ball and begs Muriel to pass the message on if they can, because he's not sure he'll live to deliver it in person or be able to make practical amends. While Muriel is promising to pass the message on, Mutt notices something about Aziraphale's hand movements -- subtle pulling and folding among the agitated flailing -- and laser-focuses on that through a gap in the bookshelves. Cautiously, Muriel starts to ask whether there're any messages for Crowley, but Aziraphale notices there's someone listening in on his end and frantically gestures for Muriel to stop talking (in the process concealing a subtle wrist-flick throwing motion). He has a split-second to make eye contact with Crowley and attempt to convey "I love you more than anything" via eyebrow movements, and to receive a raised-eyebrow nod that conveys "I love you too, I'm working on things down here, I know what I'm holding without looking, and the answer to the associated question is yes," in return, before the "Raphael" persona is forcibly reimposed.

It's unsettling to watch -- his body is yanked mechanically, involuntarily upright like a puppet having its strings pulled, and he settles too smoothly back into the formal posture from the start of the call as his face becomes utterly blank once more. The call ends in a thoroughly conventional fashion, leaving the meeting attendees creeping out from their hiding places looking extremely shaken.

One or two people, once they've found their voices again, start to wonder aloud whether Aziraphale's apology was remotely sincere. Crowley confirms that it was, in a tone that suggests he's perplexed and a bit offended that anyone could think otherwise. Mutt backs him up. "He was in fear for his life! Who'd waste time lying in that kind of situation?!" He takes a couple of calming breaths, "So, yes, completely sincere, but I got the sense that it was at the same time a sort of misdirecting patter. Did anyone else see what he was doing with his hands? Looked like pulling something out of his sleeves and throwing it out of the circle right before he..."

"You're absolutely right." Crowley holds out his right hand and opens it to reveal a small, roundish tartan lump. As he unwraps Aziraphale's bow tie from around the package, he continues, "The thing about conducting a millennia-long clandestine relationship with painful annihilation as the price of discovery is that you have to be, or get, very good at communicating in ways that won't be understood or noticed by anyone who doesn't know the full context [quick sideways glance at Maggie and Nina]. For example, this..." He finishes unwrapping the bow tie to reveal Aziraphale's signet ring. "...means, among other things, 'I trust you with everything that I am.'" No-one dares say a word as Crowley slips the ring onto the ring finger of his left hand and secures the bow tie around his watch strap. He then wearily dismisses the meeting, responding to queries from the Whickber Street Traders about how they can help by saying, "Just... Keep being human, as hard as you can. That's what did for Armageddon last time..."

Up in Heaven, Saraquel is worried and speculative as she watches "Raphael" depart to resume his duties elsewhere, looking unusually shaky. She consults the memory-mangling app on her angelphone and realises that repeatedly imposing the "Raphael" persona without first erasing Aziraphale has rendered that persona increasingly fragile and liable to be thrown off permanently at any time.

Aziraphale does just that as soon as he's sure he's unobserved, but (warned by his previous experiences) acts as if he hasn't, all while weaving a small illusion miracle to bolster the pretence until he's ready to cast it off.

A couple of days later, Crowley is sitting in Give Me Coffee Or Give Me Death, brooding deeply and knocking back inordinate quantities of Nina's strongest espresso after a night watching the spy-flys. He's jolted out of his reverie by the arrival of the International Express delivery guy, cheery and businesslike as ever, bringing a letter from Anathema and a large parcel she's passing on for someone else. Crowley opens the letter first, reads it in mounting agitation, quaffs the last of his latest coffee and races back to the Bookshop. While Muriel's examining the letter, Crowley opens the parcel to find a number of things from Aziraphale -- Gabriel's scarf and tailored overcoat (along with an apologetic note about not being able to find more of his clothes), all records of his attempted execution and Gabriel's kangaroo court, information on the murders of Azrael and Raphael, a complete list of angels who've been memory-wiped without Falling (Muriel is perturbed to find their own name on the list), change logs for the Book of Life, details of other things the Metatron has been doing in an attempt to impede the Ineffable Husbands' ability to muck up Armageddon round 2; all in all, a very helpful mound of evidence for anyone intending to take down the system. In mounting fear for Aziraphale's safety and warned by part of Anathema's letter, Crowley leaves the Bookshop, the parcel and its contents under the temporary care of Gabriel, Beelzebub and Muriel and goes tearing off in the Bentley, Best of Queen blaring from the radio. Near the M25, though, the playback is interrupted by an ominous announcement: "Peoples of the Earth, please attend carefully. The information that follows is vital to the future of all of you..."

Up in Heaven, the Metatron is hijacking every sound-emitting device on Earth to transmit the "good news" about the Second Coming. He makes a smarmy, patronising speech about how wonderful it's going to be and how humanity should rejoice about the culmination of the Great Plan etc. etc. before introducing "Supreme Archangel Raphael" and handing him the trumpet to blow to formally begin hostilities. "Raphael" takes the trumpet (a tad dubiously, but the Metatron's too full of himself to notice) but doesn't immediately move to use it. Instead, in a deep and resonant voice, he says, "Before we begin, there is a quotation that I feel is very appropriate at this juncture." He then drops the "Raphael" illusion entirely and scrunches up the trumpet like tissue paper as he says, "As a wise and wily serpent once said, 'Great pustulent mangled BOLLOCKS to the GREAT BLASTED PLAN!'", his voice rising through the octaves to the familiar Aziraphale tones.

As Metatron has a major 'oh crap' moment (and Crowley, barrelling along the motorway, registers surprise, affection, pride and intense concern simultaneously), Aziraphale builds on his advantage of surprise to bluntly explain exactly what's really intended to happen, viciously and succinctly eviscerating the concept of 'Rapture' and the idea of Heaven and Hell giving a flying fuck about humanity, utterly condemning the celestial/infernal ego games and urging any angels or demons who've been doubting the plan to desert, explore life on Earth for themselves and make their own decisions.

Metatron, having recovered from the shock, tries to get his plans back on track. "My Lord Archan--"

"No." Aziraphale starts determinedly walking towards the elevators. "My name is Aziraphale. I am a Principality, and I claim the Earth and every living being upon it as my protectorate. The Archangel Raphael died a very long time ago, as you should know full well, Metatron, given that you murdered him."

The Metatron switches to faux-concern: "You have to do this! you're going against the Great Plan! You'll be damned--"

Aziraphale shrugs and keeps walking. "I am reliably informed that it's not so bad once you get used to it."

The Metatron is furious now: "You're a worthless remnant stitched together from worthless remnants, and if you want to have any value at all in your miserable little existence--"

Aziraphale makes a dismissive gesture and keeps walking, outwardly unaffected. (Cutaway to Crowley: "Oh, angel... I'm gonna pamper you SO HARD when I get you home...") He's making surprisingly good progress, between the confusion he's sown in the ranks and the support of those members of his old platoon who elected to stay behind and keep an eye on him. The Metatron manages to exhort a very few of the really fanatical loyalists to try to stop Aziraphale by force, heavily outnumbered though they are. Not many of them get through to Aziraphale, and he manages to dodge them in such a way that they end up hitting each other -- until Sandalphon, by an unlucky fluke, manages to catch him hard on the face. There's a breathless moment of shocked silence, broken by Aziraphale wryly snarking about how sloppy and complacent Sandalphon's form has become since Sodom and Gomorrah. He takes advantage of the confusion this causes to disarm Sandalphon of his sword and neutralise him, then hesitates as if to turn and support the anti-Armageddon rebels he's convinced -- they urge him to get back to Earth and Crowley. He does so with considerable haste, meeting comparatively little resistance. (Cutaway to Crowley, looking more worried than ever as the Heavenly transmission cuts off.)

[My ideas form a four-way branch at this point; the commonalities are Aziraphale crash-landing somewhere with his wings broken and/or on fire, Crowley picking him up and doing loads of healing miracles, creating a scabbard for the sword that Aziraphale is clutching like grim death, wrapping him in blankets, carrying him to the Bentley and driving him back to Soho, all the while fretting over him.

--Version 1: Aziraphale falls past an airliner and lands somewhere isolated enough that a search-and-rescue team with helicopter support comes looking for him. Aziraphale is traumatised enough to be very twitchy about letting the paramedics (who, kind or no, are after all strangers) do anything to him until Crowley shows up; he flatly refuses transport to a hospital and (by some chain of events) ends up staying the night with Crowley in the guest bedroom of a nearby cottage that proves to belong to Madame Tracy and Shadwell.

--Version 2: Aziraphale lands in the sea a couple of miles off Beachy Head, with his wings on fire -- or in some other highly visible way that sets off an immediate flurry of calls to the Coastguard. Eastbourne RNLI are tasked to the rescue, and once the Deputy Launch Authority's gotten over the initial 'WTF?' reaction, they decide to launch the station's Tamar-class all-weather lifeboat to fish him out (reasoning that when rescuing a casualty with a 12-foot wingspan, it'd be sensible to have the larger, more stable vessel). Crowley roars up to the lifeboat station in the Bentley right as the Tamar is launched, pops his wings and flies off after the boat with a cry of, "AZIRAPHALE, YOU MAD BASTARD, WHERE ARE YOU???" He actually finds Aziraphale first, grabs his hand and holds on to him with grim determination, which makes things a lot easier for the RNLI crew -- a demon with huge and distinctive wings is a heck of a lot easier to spot than a football-sized lump on the surface of even slightly rolling seas. Plus, between physical and psychological fatigue, injuries and voluminous, waterlogged robes, Aziraphale probably wouldn't have been able to miracle himself afloat long enough for the lifeboat crew to get there. Thanks to Crowley, though, get there they do, and once the Ineffables are safely on board they turn back for the lifeboat station; Crowley fusses around Aziraphale, doing healing and drying miracles and getting in the way of crew trying to do casualty care, while the coxswain tries to figure out how to put all this into the post-rescue report. Back at the station, the crew check the Ineffables over again, feed them choccy biscuits and hot sweet tea, then see them on their way. (And there's a *very* interesting segment on Saving Lives At Sea a few months later!)

--Version 3a: Aziraphale lands in St James' Park and drags himself over to their bench without intervention from passers-by, who (if they notice him at all) assume he's doing some sort of performance art.

--Version 3b: Aziraphale lands in St James' Park and is immediately besieged by solicitous bystanders -- some genuinely want to help, but some others in the crowd are classic Nice Little Old Ladies who think they Know Best and everyone should do as they say because they go to church in fancy clothes every Sunday; they barge around being unhelpfully helpful and ignoring or steamrolling over Aziraphale's protests that he's fine and just needs to rest, until one of them grabs his broken wing, saying, "My grandson's an ornithologist, dear, I know what I'm doing," and twists it. Aziraphale screams in agony and Crowley, already approaching at speed, teleports over and verbally tears the little-old-lady brigade a new one, all hissy and snarly and protective.]

Regardless of branch, cut to Give Me Coffee Or Give Me Death, where Nina is wrangling a gaggle of obnoxious influencer types out of the door, to cheers from the regular clientele. One of them comments jovially about how worrying it'd be if she ever lost her knack for that, which leads to a more general discussion about people acting out of character -- fading abruptly when Nina notices something outside and makes a grim comment about people who normally drive like absolute bloody maniacs suddenly acting like they're transporting fragile glass sculptures. Crowley's driving is notorious enough in Soho that everyone immediately rushes to the window to see the Bentley creeping gently into its spot outside the Bookshop. Crowley clambers out slowly, closes the driver's door quietly and moves around the car while Nina and the customers speculate about the fluffy white bundle they briefly glimpsed in the passenger seat. Their hypotheses are blown out of the water when Crowley straightens up, holding a sleepy Aziraphale in a bridal carry (wings, robes, sword and all), bumps the car door closed with his butt and carries his angel gently into the Bookshop, popping his wings for umbrella purposes when it starts raining.

In the Bookshop, Gabriel, Beelzebub and Muriel are almost more perturbed by Aziraphale's injured state than they were by the Heavenly transmission earlier. Without anything being spoken aloud, they help Crowley get him out of the Archangel robes and tucked up in bed. Crowley takes a certain savage glee in picking up the removed robes, chucking them out of the window and setting them on fire before removing boots, shades and blazer and snuggling next to his angel.

The next morning, Crowley drifts awake to find that Aziraphale has wriggled around significantly during the night and is now clinging to him big-spoon style, with all the tenacity of a particularly traumatised barnacle. Unwilling to deny his angel the comfort and closeness after the trauma of the past couple of months, he dozes and snuggles quietly, until the sound of the angelic deserters changing guard duty shifts reminds him that the Bookshop still isn't fully secure. Aziraphale has by this time woken up and is keenly aware of the same issue. He's determined to get the wards sorted immediately if not sooner; Crowley knows he's right that it needs doing, but is worried that he's pushing himself too hard, too soon. They bicker about it lightly while getting dressed -- a process slightly complicated by Aziraphale still feeling rather shaky and having considerable trouble pulling his wings back in. Crowley helps out with some small miracles, hands Aziraphale his walking stick from 1862 and does his bow tie. He takes a step back to bask in the warm fuzzies of seeing his angel looking like himself again; Aziraphale in turn gets very mushy about the exact finger his signet ring ended up on, enough to grab Crowley's lapels and pull him in for a quick smooch before they get to work.

Downstairs, Gabriel, Beelzebub and Muriel are worriedly discussing Aziraphale and the upcoming apocalypse, until the angel in question appears on the mezzanine, chiming in with some authoritative, reassuring statement. Between his outfit, demeanour and wings, he cuts a very impressive figure; the effect might have been undercut by an uncertain wobble as he starts to go down the stairs, but Crowley deftly draws attention away from that while going backwards down the staircase ahead of Aziraphale, reassuring him along the lines of, "I'll catch you if you fall." Once down, Aziraphale is businesslike in corralling Team Ineffable to help scrub out the summoning circle and prepare for the re-casting of the wards. When the time comes for him and Crowley to actually perform that particular miracle, though, he hesitates, remembering everything that happened as a result of the last joint miracle. Gabriel picks up on this and points out that this time around, there's absolutely no need to be clandestine -- and given that the super-subtle hiding miracle clocked a game-breaking 25 Lazarii, he personally is very interested to see what this one'll do. Buoyed up by this, the Ineffable Husbands set to the working with a will, creating a fairly epic lightshow!

Cut to Heaven, where the miracle detection system goes interestingly berserk and then explodes.

Cut back to the Bookshop, where Aziraphale is leaning slightly on Crowley and making his way to his comfy chair as all the angel-adrenaline of the past few days finally presents its bill.

Shenanigans happen! Team Ineffable and their human allies do awesome things! The Second Coming is a damp squib because so many angels and demons refuse to play along! The whole rotten house of cards gets torn down! Jesus nopes out of the whole mess and leaves the Ineffable Husbands with a means of contacting him, along with an offer to do their wedding catering pro bono! Mysteries are resolved in the most positive way possible! All the other weirdness is explained! The Ineffable Husbands talk about stuff! The Metatron is permanently banished to an inescapable plane where he can do nothing except tread barefoot on Lego and sharpened metal d4s for all eternity! Crowley gets to ask questions of God and Aziraphale gets to call Her out in detail for being so fuckin' awful, treating people as things, condoning so much cruelty in service of a never-explained Plan and calling it 'love'! She offers to marry them then and there, but they both refuse because that feels too much like an offer of Heaven's approval on Heaven's terms, not theirs! (and so on and so forth)

A few nights later, Aziraphale and Crowley head to the roof of the bookshop. Crowley fishes out a sheaf of notes and sketches which he's been working on for the past week or so, sets them floating and flirtatiously asks Aziraphale for an assist with the night's planned miracle. Aziraphale (knowing exactly what's needed because Crowley's been consulting with him closely regarding tonight's hijinks) sets a miraculous filter over London that cancels out all of the light pollution without messing with the working of the streetlights and so on. As the sky becomes a glorious Bortle class 1 panorama, he hugs Crowley from behind and they both pop their wings as Crowley calls down cosmic dust from one of his nebulae and gets to work on it, making a ring. Once done, he turns to Aziraphale and stutters and mumbles at length, forgetting his planned speech now that it comes time to give it. He eventually finds some sort of words and goes down on one knee, offering the ring. Aziraphale is happy-squeeing and wiggling so hard he can barely put his acceptance into coherent words, but Crowley finally puts the ring on his finger and they proceed to snog each other senseless. After about five or ten minutes, a cork whizzes past their heads, close enough to ruffle their hair, and they look over the parapet to see the Whickber Street Traders breaking out the champagne, evidently having figured out what was going on treating it as something worth celebrating.

The next day, #DameVeraLynn is trending and Berkeley Square is playing host to an impromptu convention of very confused bird-watchers and breathlessly excited BBC reporters. Because the Whickber Street Traders are taking the view that 'if the Bookshop's a-rockin', don't come a-knockin'', so the Ineffable Fiances don't find out until mid afternoon, when Mr Arnold drops by with the ornithological gossip and a brochure of upcoming concerts at the Royal Albert Hall. Other engagement presents come in from the Whickber Street Traders over the next day or two -- tiramisu brownies from Mrs Sandwich (her special extra-boozy recipe) for example, and a stack of Steeleye Span records from Maggie (Cam Ye O'er Frae France [one of my audio-stimmy faves], Thomas the Rhymer, The Making of a Man [Pterry's favourites], Gaudete [super appropriate for GO in like 3 different ways], The Dark Morris Song [my top favourite]), who thought Aziraphale might like them even if they're not his usual thing.

A few days later, Saraquel comes to the Bookshop having finally finished cleaning up in what's left of Heaven -- and immediately bounces off the restored wards. Trying not to be visibly intimidated by Aziraphale's obvious annoyance as he opens the doors, she requests entry, but he flatly denies her, icicles dripping from every phoneme. "You are directly complicit in the attempted or actual murder by ego-death of thousands of angels and two instances of attempted omnicide. You stole my memories and tried to squash me out of existence twice; don't you dare try to pretend you were being merciful there. You were perfectly happy to try to murder two of my neighbours who I consider valued friends. Your bridges are burned, Saraquel. You are not welcome here. Leave Earth of your own volition and never return, or Crowley and I will eject you by force." He takes Crowley's hand in preparation for a joint miracle, and Saraquel is alarmed enough to flee immediately (Michael and Dagon, lurking and observing in the background, wisely decide to bugger off to Betelgeuse rather than test the Ineffables' patience further). Aziraphale quietly closes the Bookshop doors and leans shakily on them and Crowley.

Cut to the Ineffable Wedding! It's a handfasting at Tadfield Manor, with the former Sister Mary Loquacious officiating. The occasion is very well-attended -- the Whickber Street Traders, Madame Tracy and Sergeant Shadwell, Anathema and Newt, the Them, the entirety of Aziraphale's old platoon (who adapt the tradition of forming a sabre arch for the newlyweds to walk under), Gabriel and Beelzebub are in attendance, with Muriel as Best Person. The catering is being ably handled by a cheerful guy who seems to produce amazing food and drink out of nowhere, the reception playlist is delightfully varied, and a good time is had by all! The Ineffables take a breather in the Bentley afterwards to let the fact that they did it properly sink in, then hold meaningful eye contact for about five seconds before smooching passionately and driving off to their honeymoon.

At a certain South Downs cottage, on an early summer evening -- there's a garden full of fruit and vegetables and herbs and spices and flowers. Aziraphale brings tea and cakes out to a neat little table on the patio as Crowley finishes intimidating the climbing roses on his mini-observatory and sashays over, pausing to pluck an apple from the tree. They share it as they appreciate their freedom to be truly together, as well as how far they've come since making that nebula...

[Pan up to sunset over picturesque landscape, roll credits]

***

Whoof, that was a bit of a marathon! As I said at the start, I doubt most if any of the events recounted above are going to happen in Season Three, but my brain does tend to run away and do its own thing! For what it's worth, what I think is *likely* to happen in S3 is a combination of elements of The Magic Trick You Didn't See (especially the burning-cinema-screen in the opening sequence as a pointer to memories/data files being corrupted and restored from backup) and @vidavalor's terrifyingly plausible and well-grounded hypothesis that Final-Fifteen!Metatron is actually Satan, Aziraphale has capital-F Fallen and is going to start S3 amnesiac and in Hell. (The Great Balls Of Fire meta dropped when I was partway through writing this post, and on that basis my brain has careened off in an entirely different direction XD) *meep* I guess we'll just have to exspecta videque!

#good omens #aziraphale #crowley #ineffable husbands #fic #fanfiction #fanfic #good omens fanfiction #speculation

38 notes · View notes

chaifootsteps · 3 months ago

Note

...nevermind! I have another thing to say and ask.

I just literally searched your username in Tumblr and I got to see a lot of posts accusing you of a variety of things, things like:

being a lolicon / shotacon (steming from you pointing out in a post that fictional children shouldn't be reported and the accuser said that's part of the problem and you're encouraging pedophilia)

being a zoopedo (because of the toothless and hiccup pairing, of course, also managing to see that they've defended and remarked that the "SoftFurArchive" / Norry / idk was trying to warn all of that)

being an armchair psychologist and ableist (because you and an Anon diagnosed Viv with narcissism in a ask)

being a proshipper (an amalgamation of posts, but most focused on the fact of the Toothless x Hiccup ship)

being a KiwiFarms apologist (because of posts about you talking about KiwiFarms and sometimes praising some of the users' comments there)

being a gatekeeper over what's trans (from you saying what a trans should or should not be in a post)

Please, Chai, ease my mind by clarifying if any of this is true or false, or it's just a byproduct of gullible people falling over supposed evidence, or just proshipper puritans attacking you because they don't like you.

— Instagram!Stolas Anon, concerned.

Let's break this down point by point

No, I don't like loli or shota, but I've got a couple of ships that are weird and personal and require convoluted explanations, so I try to extend the same benefit of the doubt to other people.

No, I'm not a pedophile. I'm a CSA survivor, which is why I'm incredibly concerned about things like alarm fatigue. I think certain terms need to be limited to things involving real children and then we can argue about Naruto ships all day.

No, I'm not a zoophile, I like monsters and dragons and generic furry stuff. The term for the former is teratophila. I've been accused of murdering my pets and sent links to actual animal abuse over this.

I don't call myself a proshipper anymore because I'm not playing the "Ah-ha, I think it means X and you said you're that, so you believe what I think you believe" game. I judge people as they come and whether you call yourself proshipper or anti, you're welcome here as long as you can behave.

I've said before that I shouldn't have indulged that ask, but I didn't say that Viv definitely has NPD, I said that if you dangled me over a shark tank and forced me to throw out an armchair diagnosis, it's one I've wondered about. I hope she doesn't, because it's a misunderstood disorder and an extremely sad one. To quote someone who's got it, Nothing's ever OK. You're either too high on yourself for outperforming everyone else, or too harsh on yourself for not being good enough for your own standards.

I'm fascinated by old internet forums and Kiwi Farms is a place that interests me more than any other. It's swaddled in a mixture of misinformation and being exactly as bad as everyone says, but in an increasingly corporate owned, regulated, KOSA-just-passed-the-Senate internet, there are days I'm profoundly grateful that Null's as stubborn as he is.

I'm trans. I genuinely have no idea where this "gatekeeping" thing is coming from.

Let me be very clear. The FBI and NCMEC have literally begged people to stop reporting fictional characters, because fighting pedophiles is like fighting a million headed Hydra. So it burns me when people say things like this.

If you think it's acceptable to do something child protection agencies have again, begged people to stop doing because it gives you a good feeling to do it and you think that trumps the well-being of real missing and exploited children, you are dangerously detached from reality and not welcome on my blog.

TL;DR: All false.

#Anonymous #Instagram Stolas anon #actual blog post #image reply

29 notes · View notes

curryswirl · 6 months ago

Text

ive seen a lot of responses to this post that are clarifying what they think "make art for yourself" is intended to mean-- that its not really referring to making it for no one to view but rather its referring to what you make and why. and i just wanted to do a little follow up and say that you guys are definetly correct in a lot of instances~ in those instances, i in fact agree, also. i do think determining what you want to make via what you think people will like ONLY is probably an unhealthy way to create (although it can certainly be a component of your decision making), just as i think doing it for ONLY likes and numerical engagement is not the way to be either!

i was specifically responding to cases where i have seen people problematize the desire to have ones art seen at all, though-- something i have come across frequently, too. i wouldnt be suprised if this was an extreme evolution of the former, as that tends to be the case for heavily parroted rhetoric online.

it was an angry post and i stand by it, but i do apologize if it made anyone feel like they are "doing it wrong" or whatever. in truth, i think my motivation for making the post stems from, at its root, the sadness i feel when people blame other people for the tendecies that have been incentivized wrt engagement online... and i would never want to make anyone feel that exact way.

like, some people also identified the problem as due to "people not caring enough to reblog" or some other cultural shift due to individual shortcomings. i dont think thats completely and utterly untrue in all cases, but in my opinion much of this behavior is due to the platforms we engage on, and the behavior they incentivize, not some modern widespread negligence of artists by individual people.

websites are set up the way they are because long form, complex engagement does not make as much ad revenue. over a long period of time, users have been conditioned to scroll quickly and see more ads because thats what the UI encourages... and those who post are conditioned to desire a climbing number of likes/notes/whatever, because shorter and shorter dopamine hits have diminishing value.

there is intention behind every website beginning to look the same. there is intention behind every aspect of a user interfaces design. and it is my belief that this has caused it to be less rewarding to take time to leave a comment or to stay on one post for a long period of time.

if you combine that with the general, worsening life experience of the working class-- with the emotional fatigue, the intellectual drain... the amount of ignoring you have to do, the amount of swallowing of horrible, seemingly unchangeable horrors day in and day out just to bare living on this earth, you get an emotionally exhausted populace that does not have the time or energy to truly invest in engaging with art.

this is not your fault. this is not your peers fault. if youre not a billionaire, a capitalist of influence or in a position of power or authority, its probabaly not your fault either.

i guess what im trying to say is please continue to strive to punch up, and to always question the systems that incentivize our behavior before you turn to punching sideways and criticizing the people who are living in the same world as you. empathy is everything, and its all we have.

#txt #im speaking broadly and i know some people will probably take this in bad faith but i hope what im saying makes sense.

51 notes · View notes

putschki1969 · 28 days ago

Text

A Fine Line: Truth vs. Speculation

Due to popular demand, I will be taking a closer look at the infamous “FictionJunction & Kalafina Behind the Scenes” essay which is posted in three separate parts on a Livedoor Blog

UPDATE 24/10/10: As of October 8, the blog seems to have been deleted. Further proof of the author's questionable intentions if you ask me. But hey, nothing is ever truly gone on the internet so I will be using internet archives for my analysis.

UPDATE 24/10/17: Yuki Kajiura has addressed the blog in her most recent FC radio broadcast. She has read through it and wants us to know that all the “facts” are pure fabrications, especially the conspiracy theories regarding Sony wanting to control her and trying to slowly get rid of her involvement in Kalafina.

A few days ago, I provided some context and background info on the author so be sure to check out THAT POST before you read this one. While working my way through the individual sections, I will try my best to highlight the speculative parts for you so you know what you are dealing with.

Disclaimer: I will do this to the best of my knowledge and ability but please remember to remain critical at all times. You should always take these things with a grain of salt. While I would usually not hesitate to call myself somewhat of an expert on all things Kalafina, the same is not true when it comes to Yuki Kajiura. So even if my opinions and thoughts are well-founded, this should definitely not serve as a be-all and end-all source for you.

Parameters: I will highlight anything as "speculation" that doesn't qualify as cold, hard fact. This will entail straight-up lies, half-truths, conclusions with no causal links and full-on delusions of course but also more subtle things like exaggerations, embellishments, headcanons or projections of personal feelings.

Use of Auto Translate: Since my main goal is to reveal the speculative parts of the essay for casual fans, I want to save some time by simply putting the website through the automatic Chrome translation tool. It's not ideal and won't always make perfect sense (especially regarding the use of pronouns) but for now, it's the most convenient option. If there are any outlandish translations, I'll try my best to clarify them. For the purpose of this analysis, the translation should be fine though. I also blurred out all the photo descriptions in the screenshots because they were distracting, I've not removed any of the relevant text parts. ╭────────────.★..─╮ LET'S GO〈(•ˇ‿ˇ•)-→ ╰─..★.────────────╯

Intro & Addendum ① The truth behind Kajiura Yuki’s departure from the agency ② The truth behind Kalafina’s split and hiatus ③ The activities of the members and Kajiura after Kalafina’s hiatus ④ The circumstances that led to Kalafina’s reunion and the truth behind Kajiura’s anger ⑤ Rights related to Kalafina

~Intro~ & Addendum

For clarification, the phrase "former member of the group" is a clunky translation of the part where the author refers to themselves as an “industry insider”, someone who has “formerly been affiliated” with Yuki Kajiura and Kalafina. Obviously, I believe this to be a total fabrication of the author who is aiming for attention and clout. I've already discussed this quite thoroughly in MY POST HERE so I won't go into detail again. Suffice it to say, I believe this person is an imposter pretending to have exclusive insider knowledge. As for the claim that these blog posts are "only focusing on facts", well, I beg to differ. While facts surely make up the basic framework of the essay, it is also filled with lots of unsubstantiated statements. Additionally, I am not buying into the whole "no intention of criticising anyone" thing because quite frankly, there's a lot of criticising and accusing going on here regarding Space Craft and Sony. Plus, this entire essay reflects super badly on Wakana. It's nothing obvious of course but there are subtle patterns that run like a red thread through the whole text (I'll highlight them once we get to the sections in question).

The addendum is basically a reiteration of the intro, serving to protect the author against any possible accusations of deception/fraud. However, they are doing a very bad job at trying to convince us of their credibility. What do you mean by "merely facts that you have seen and heard and that don't necessarily align with the facts of someone else"???!! Maybe this person struggles with the definition of the word "fact" but what makes a fact is solid evidence and not some random hearsay. It's also in the nature of facts to be true for everyone and not just for individual people. Oh well, what can you expect?

① The truth behind Kajiura Yuki’s departure from the agency

I have no issue with the names mentioned here. Those people have all indeed been part of Space Craft at one point or are still associated with the agency. You can find their names in Kalafina's credit booklets so that's undisputed. However, I do take issue with the strong focus on interpersonal relationships and soap opera drama. None of this has ever been officially confirmed (it's only ever been reported in tabloid papers). It's true that management positions at Space Craft have changed very frequently. You can see in the credit booklets that positions were switched up on a regular basis (with special titles changing just as often) which indicates that Space Craft has undergone a lot of restructuring throughout the years. Changes on management level are of course a very common practice in many companies. It's natural that some people will benefit from this and others will feel slighted. Obviously, these changes are not always triggered by professional reasons, there's a high possibility of private reasons being involved as well. However, there is no way of knowing whether Onishi was "obsessed" with anyone or if certain people were "being favoured" while others were "abused" and "demoted", these are merely speculations. At any rate, the fact that Inokuma has left the agency as well would suggest that the supposed special treatment wasn't so special after all. Mori may or may not have had his personal sensibilities offended which prompted his departure from Space Craft but the exact reasons behind it all have not been disclosed. "Often had disagreements over the direction due to Inokuma not understanding the process": Creative differences have been cited a few times as one of the reasons for YK's departure but that's the extent of our knowledge. We are not aware of any details as to who she's had those differences with or what exactly they couldn't agree on. There's also no way for us to judge Inokuma's skills as director/manager (or really anyone's for that matter). Not sure if Yuki has ever "negotiated her rights with a lawyer", I've personally not heard/read about that. Then we have Yuki's current status. Her partnership/association with Highway Star would suggest that she is not actually a "freelancer" in the strict sense of the word. In credit booklets, the agency is always listed as "artist management" alongside Yuki's own company FictionJunctionMusic so her status is a bit ambivalent if you ask me. But to be fair, that's neither here nor there, not really relevant for this analysis anyway. Claiming that YK is now able to "pursue her musical career more freely" seems a bit weird to me since Yuki has gone on record several times saying that she's never had more creative freedom than when she was working on Kalafina's music. There's no doubt that she is now doing a lot more soundtracks and live shows again but that's obviously because she has more free time to focus on that instead of new releases for Kalafina. Also, the main difference between then and now is that the huge success of Demon Slayer has afforded her the financial means to considerably expand her live activities. She's clearly enjoying the emphasis on concerts and events but we've no idea how happy she is about providing all those songs/scores to different shows/artists compared to how she felt when she was working on music for Kalafina...I'd argue it's not as fulfilling or fun. After all, she has been writing songs for all sorts of stuff during the Kalafina days and long before that too so nothing has changed about that.

② The truth behind Kalafina’s split and hiatus

For some reason, the author seems to be convinced that the higher ups at Sony were on an evil mission to "gradually get rid of Yuki Kajiura's involvement" so according to this essay, every change that happened throughout the years was just one step further into that direction. This is completely baseless and honestly makes no sense. There's zero evidence that either Sony or Space Craft ever wanted to remove YK from the project "Kalafina" before that whole falling-out thing happened. Quite the contrary actually, Yuki was always in charge of the music production and the higher-ups would never have given her so much free rein if Yuki's unconditional involvement wasn't exactly what they wanted. Did they involve more staff members when Kalafina became more popular and mainstream? Of course. It takes a lot of people and talent to handle activities on a larger scale. And since Yuki was busy working on new music almost all the time, there was no way she could have possibly handled all those things by herself. Apart from that, it was clearly necessary to bring in people with new ideas who knew how to adjust Kalafina's activities and marketing to better match their growing popularity and entry into mainstream territory. Many fans have bemoaned the fact that Kalafina had become too mainstream and idol-like in their later years but the truth is, if it hadn't been for these changes, Kalafina might never have gotten this far in terms of reach and success. The rather lackluster reactions to Kalafina's 10th Anniversary Live production are proof enough that a majority of fans actually preferred the more elaborate stage productions with dramatic elements, choreography and fan-service from the previous years. This is where people like "Minami Sasuga" come in, she is the one responsible for many of Kalafina's more engaging and epic live performances. For Yuki, the focus was always on singing so she never thought much of elaborate live productions but she obviously knew it was the price to pay for success. To conclude, no one was brought in to replace or drive away YK, they were merely invited to fill gaps that were in dire need of filling. The suggestion that a few "TV appearances and a collaboration with Shinji Tanimura" were failed attempts by Sony/Space Craft to "distance Kalafina from Yuki Kajiura" is once again utterly baseless. We have no evidence of that. How do those things even correlate to each other? Doing one thing doesn't exclude the other. If anything, these were attempts to broaden Kalafina's reach among different audiences. That part about "Sony intervening with Yuki's work/activities" also seems quite fishy. I have no details on this but what reasons would Sony have for those sort of restrictions all of a sudden if they had been fine with the situation all those years before? Not to mention that Sony (SACRA MUSIC to be more specific) is currently collaborating with Yuki again and there seem to be no issues about her performing all the old Victor stuff. All the things about Kalafina's cancelled activities in 2018 ("world tour, singles, albums, etc") are pure speculations taken from tabloid articles. Nothing has ever been confirmed. Might be true, might be a fabrication, we'll probably never know for sure. While it's certainly true that Keiko had been suffering from a "chronic illness" at that time (that sometimes made it impossible for her to do her job), the phrasing here makes it seem as if she was purposefully denied breaks and forced to perform when she was physically incapable. The truth is more nuanced. We do know that she got to take breaks if she needed them and whenever we actually saw her performing, there was never a point where she wasn't able to deliver solid vocals. It's easy to demonise the agency by saying they had poor Keiko slave away while suffering but based on what we know of Keiko's character, it was always her decision to keep working, she's the type to push through because she's not willing to let anyone down.

③ The activities of the members and Kajiura after Kalafina's hiatus

Keiko

Not for one second do I doubt "Keiko's strong respect" for Yuki Kajiura but I don't like the way this is framed. Somehow the girls are implicitly judged based on their level of respect for YK. And while Keiko is put on a pedestal here with her hero worship and unconditional loyalty, Wakana is the clear loser of this evaluation according to the author (see the section below). Also, why feel the need to include Keiko's little anecdote about her "low-voice complex"? Does anyone really believe that all the love and respect between Yuki and Keiko is based on something trivial like this? Yes, Keiko likes to tell the story about her low voice and she was obviously happy to get some positive feedback but this is in no way, shape or form the foundation of their relationship. We actually don't know anything about Keiko's motivation for that "trademark registration". She's never talked about it. She may have had plans as described above but to state it as fact is quite bold. YK has mentioned in interviews that she felt a little sad about the girls not getting to explore their own interests for a whole decade but I don't recall her saying that she was ever trying to "actively distance herself from them". Any perceived distance was caused by the rift between Space Craft, Yuki and Mori. Keiko, just like the other two members, did not "focus on Kalafina songs in the beginning" because she had nothing else to sing, it was more of a matter of wanting to please the fans who were obviously coming in with certain expectations. All three of them realised very quickly though that it was best to mostly/completely stay away from Kalafina covers for a number of reasons. I'd argue though that people "harshly criticising their covers" is very low on their list of reasons to avoid them.

Hikaru

We don't know what exactly caused the changes in Hikaru's voice and whether or not she "wanted to take a break to recover". This theory is unlikely though since there haven't really been any real "improvements" to her condition. She simply adapted to the state of her voice and sometimes it works for songs, other times it doesn't. The author refers to stipulations in the Space Craft contract that keep clients "from signing with another agency for a year after departure". This theory has been floating around forever and I've always found it to be quite plausible but once again, the author is stating it as fact here which I find problematic.

Wakana

This entire section somehow seems to imply that Wakana never cared about Kalafina or Yuki Kajiura and if you know anything about me, then you will not be surprised that I'm taking full offense at such claims. Portraying Wakana as the only one "who wanted nothing to do with Kalafina in favour of pursuing a solo career" is just wild. As far as we know, Wakana never had such a strong desire to be a solo artist (she actually often voiced her insecurities about performing alone) but still, this author makes it sound as if she was more invested in that dream than even Hikaru and willing to just abandon the Kalafina project. Completely untrue. For a while back in the early days, Kalafina was in a very fragile state with no concrete plans for the future. Members were not intended to be regular and everything happened on a tentative basis so of course, this would make everyone involved feel a little uncertain. No promises had been made to them, they had nothing to rely on so they would naturally have needed to look at other work options but obviously, none of them committed to anything else since they ended up becoming regular members of Kalafina. Again with this idea of Wakana "pining for her long-held dream of a solo career and being forced to sing YK's music" . Where does this person get their info? Hikaru has always been the only one among the three of them with the confidence and desire to stand alone on stage. Wakana is a lot more similar to Keiko in that regard, meaning that she prefers the comfort of having someone else on stage with her. That's not to say that she didn't have dreams of exploring her own music one day (and she has obviously been having fun throughout her solo career) but she certainly never minded being guided by Yuki and her fellow group members. Just like the other girls, she holds YK in high regard and treasures the music she has written for them. Wakana "chose stability over performing with Keiko, Hikaru and YK". The way this is phrased irks me so much because it is so clearly making Wakana out to be the bad guy in the situation. The person just named all the reasons why it was beneficial for Wakana to stay and in contrast, they also described the fate that would have awaited her if she had left as well. So yeah, Wakana chose relative stability over certain instability (as seen with Hikaru's circumstances). Not being able to perform with Keiko, Hikaru and YK was unfortunately one of the prices that had to be paid due to strict rules but to suggest she pretty much dropped them all like a hot potato for the sake of a bit of comfort is simply slanderous. And now the author is trying to convince us that there has never actually been any ban for Wakana, that "it has always been largely at her own discretion", that she is simply choosing to not collaborate with anyone for shits and giggles. Why would you say that? Just because we've examples of other Space Craft clients being able to work together with YK? That's completely irrelevant and has zero significance for Wakana's situation. Do we know what's in her contract? No. Do we know if it's the same contract as Yuuka Nanri's or Kaori's or anyone else's for that matter? No. So why make those conclusions?! We don't know anything about that. I find it rude to even suggest that Wakana and YK would willingly avoid working with each other again because even if this author might not believe it, there's certainly a huge amount of mutual respect between them.

④ The circumstances that led to Kalafina's reunion and the truth behind Kajiura's anger

Hm, is it "Space Craft's pride" alone that's stopping a proper reconciliation? Or Yuki's pride? Or Mori's pride? Or everyone's pride? I always hesitate to point the finger at just one involved party with disputes like this. It usually takes more than one party for a falling-out on such a large scale. I think there is a lot of hurt pride involved in this debacle. Yuki's official statement on the reunion live is a prime example of hurt pride. Of course she has every right to feel slighted but this was not a professional reaction. Say what you will about Space Craft treating the girls horribly but they are not always the sole perpetrator. I mean, yeah, the agency was their usual petty self by purposefully excluding YK and making the girls sign confidentiality agreements which surely caused them to feel uncomfortable but who was it that lashed out irrationally in public, essentially threw the Kalafina members under the bus and stirred up hatred against them? All I'm saying is that it is not as black-and-white as this person would have you believe. Everything else in this section is just pure speculation about future Kalafina projects. It's too early for that and I really see no point in coming up with all these prophecies of doom. It's funny though that according to the author, "Sony would suddenly not be interested in Kalafina without Yuki's involvement when they previously were so adamant about getting rid of her..." There's really no proof that Sony had no faith in Yuki's work prior to her success with Aimer and LiSA.

⑤ Rights related to Kalafina

I have no real qualms with the following sections. This part seems pretty well-researched and checks-out. While I'm not 100% familiar with all the legal aspects, this is information that can be looked up online. What I've found during my own research on music rights in Japan more or less aligns with what is stated here. So feel free to go through this without worrying too much about speculations.

I'm very glad the author puts emphasis on the fact that the girls are not the kind of people to be disloyal. Kudos to them!

We actually don't know yet what the "front band members" will do. Maybe they'll refuse to appear at the live out of loyalty to Yuki? Or maybe they will decide to support this reunion because the girls also mean a lot to them? None of them are bound by any rules, confidentiality agreements or stipulations so they can basically do whatever they want.

Regarding "Space Craft treating Kalafina too roughly", other people might feel differently but I still have faith in the girls. As far as I am concerned, they knew what they were getting into when they signed a deal with Space Craft. I mean, surely no one was holding a weapon to their head when they decided to do this so they must have collectively agreed that it was a good idea (at least in the beginning phase). I am not denying that this is currently a shit-show and that things are being handled in a very poor manner. It's the typical M.O. for Space Craft and they do deserve some of the backlash for that but let's be real here, so far, the roughest treatment has definitely not come from the agency. It has come from the fans themselves who've been hurling insults and accusations at the girls almost non-stop so maybe the fandom should first and foremost look inward instead of blaming Space Craft for everything.

»»———-THE END———-««

All right, that's it. A cookie for everyone who managed to read through all of this. Sorry for all the typos. I wanted to get this out last night but I should have done a little proof-reading first. Will edit the post whenever I have a little free-time.

#kalafina #random #personal #speculation #kalafina reunion #long text post #picture heavy #yuki kajiura #kajiura yuki #space craft #spacecraft #should drink red bull more often #making me very productive XD #this took forever tho

19 notes · View notes

peachdues · 1 year ago

Text

The Great War — Giyuu’s Lesson teaser

A/N: oh hello.

I’m not gonna be able to get a Phantasmagoria teaser done before my exam (and this likely will be the last thing I post until after) — so I thought I would share one last little blurb before I vanish for a few days.

I’ve shared a couple of emotional/angsty teasers from The Great War, but I wanted to also share some of the lighter moments you all have to look forward to. This teaser takes place after the final battle, and features a conversation between Tengen and Giyuu, where the former Sound Pillar is horrified to learn that Giyuu did, in fact, act like a virgin back in this teaser.

Enjoy!

CW: suggestive

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

“Well, obviously it’s hard for women to reach completion their first time, even when you properly prepare them —“

“Prepare?” Giyuu interjected, looking quizzically at the Sound Pillar.

“Well, y’know, the stuff ya do before you actually put it in.” Tengen clarified, but he paled at the blank look in the former Water Pillar’s eyes.

“Y-you did prepare her, didn’t you?” He demanded, sitting up straighter as his eyes narrowed.

Giyuu only stared back at him with that same, blank look, though Tengen could see the blush creep down his ears and to his neck.

The former Sound Pillar pinched the bridge of his nose between his fingers, eyes screwed tightly shut. “Are you telling me,” he grit out, “that you just shoved it in without even stretching her out a bit first? Or at least making sure she was properly lubricated down there?”

Giyuu felt slightly affronted at his friend’s tone. “What do you mean by ‘prepare?’”

Tengen groaned. “Giyuu. Did you use your fingers or your tongue before you put your cock in her?”

He was silent as he thought for a moment. “Was I supposed to?”

Tengen stared in disbelief at the stoic ravenette, before dragging a hand over his face. “Y’know, you shouldn’t be intimate with someone until you know what you’re doing.” He grumbled. “Even Shinazugawa came to me for help before he got with his girl.”

Giyuu cocked his head in confusion. “It’s not like we planned it in advance — it just happened.”

The Sound Pillar’s eyes widened in horror. “Giyuu,” he hissed, bracing his hand on his hip. “I’ve seen you change before — you’re not small.” He groaned, loudly at the confusion on his comrade’s face. “Unbelievable — that poor girl.”

“It’s not as though I was rough,“ the Water Pillar countered, his tone indignant, but Tengen held up a hand to silence him.

“It doesn’t matter how many times my wives and I get together — I always make sure to prepare them before hand. Thoroughly.”

Tomioka remained quiet, so Tengen asked, “Do you want to be intimate with Y/N again?”

Giyuu nodded as enthusiastically as someone like Giyuu could, and Tengen sighed.

He lowered himself to sit on the large boulder and crossed his legs. “You may as well get comfortable, Tomioka, because you’ve got a lot to learn about female pleasure — and that’s assuming Y/N even lets you back into her bed.”

🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸🌸

#demon slayer #demon slayer fic #kimetsu no yaiba #kny fic #giyuu tomioka #tomioka giyuu #kny #kny x reader #kny fanfic #uzui tengen #kny tengen #tengen uzui #kimetsu giyuu #giyuu x y/n #kny giyuu #kny uzui #kny tomioka

163 notes · View notes

vidavalor · 6 months ago

Note

Hey Vida, I have some milk chocolate sea salt caramels to share. *Passes the canister*

Have you written about this moment yet? I'm guessing it has come up but I can't recall specifics.

The time loop hypothesis that includes the idea that Crowley figures out what is happening and starts actively trying to influence things helps me understand why Crowley would say this - that he would despair after having been unsuccessful in every attempt he'd made to change the final outcome, to save Aziraphale's life. I know Crowley has some timey-wimey stuff going on generally, like his knowing the future and making all sorts of references to things that don't exist yet... I am very curious to know what you think Crowley's deal is and what is happening for him here.

...

Also, do you think Aziraphale knows from the beginning of S2 that he has fallen? I mean, the other angels refer to Aziraphale as a former angel and principality right to his face, don't they? I remember wondering about this the first time I watched the second series. I kept waiting for the show to clarify just what exactly Aziraphale's status was...

Well, this is a more oddly worded question than I remembered. One cannot simply be "a bit of" a fallen angel wtf game are you guys (gn) playing at? Leave that perfectly frosted cinnamon roll alone!

...

Also, I am still full of so much anticipation wondering what I asked you last time! I am positive it had to do with innuendo lol

Hello to you, my fave @iammyownproblematicfave! 💕I am SO sorry about the other Ask-- I determined you asked about the innuendo in the "very nice" scene & I'm going to whip you up a batch of etymology around the insanely complicated history of the word "nice." It got lost in my Drafts folder for a little while there and I overlooked it-- will remedy that shortly! Here's thoughts on these questions and thanks for asking.

On Crowley, time & "too late" and Aziraphale, fallen angels & heavenly rank under the cut.

First, time loop idea and Crowley's "too late" comments... So, anything is possible, right? That said, I don't think it's a time loop because I think there are scenes that explain why Crowley says "too late" at the end of that episode. I wrote about how it ties to unicorns & Wee Morag a bit in another post and I'll link it at the bottom of this one.

Basically, Crowley's anxious in that scene where he threatens Gabriel and then says that "it's always too late." Crowley's memory is iffy-- he admits as much to Gabriel later in S2-- and even if he was lying to Saraqael and/or Furfur about not remembering them, we know he struggles to recall all of his memories from when he was an angel. One memory that he felt confident about was the one he told Beez earlier in the season-- that The Book of Life is bunk that he and Beez made up to tease some of the more innocent angels. It is likely that this memory of Crowley's is correct. I say that because Beez seemed to think it possible when they heard it-- but then Beez felt like a fool at the thought that they'd been threatened by Heaven with something that didn't exist and that they themselves and Crowley made up. They doubled-down and insisted to Crowley that The Book of Life was real.

Crowley suddenly thought that Beez might be right because, hey, they'd run Hell for so long, they'd know more than he would, right? He starts to doubt his own recollection and he rushes back to the bookshop to help protect Gabriel as a way of protecting Aziraphale because he now is terrified that Aziraphale could be erased from existence if he is caught helping Gabriel. He doesn't want to tell Aziraphale that Beez reached out to him because he knows Aziraphale is sensitive about the fact that none of the angels have talked to Aziraphale in years and that their only source of intel is a demon with a thing for Crowley (Shax) so Crowley doesn't ever tell Aziraphale how scared he is about The Book of Life. Meanwhile, even though Gabriel is basically on their side now, Crowley can't exactly ask him if it's real or not because dude only knows Buddy Holly songs for basically the whole season lol.

So, in addition to worrying that Aziraphale is spiraling (because he is) and that helping Gabriel could mean that Aziraphale is risking his mental health and a fall, Crowley is also now terrified that Aziraphale could be made to have never existed. It's on his mind so much that he growls at Gabriel in that episode-ending scene that Aziraphale could be "risking his existence" for Gabriel and then muses about how it might be "too late-- it's always too late..." I don't think this is a time loop indication. I think it's a reference to other times Crowley has said "too late" in the past, like the unicorns and when Wee Morag died. It's about how it might be too late for him and Aziraphale and they might be running out of time and be on a collision course with death while not knowing it-- like how Elspeth never saw the fact that it was her last night with Wee Morag coming. It's Crowley's anxiety talking. Crowley thinks it's too late to turn back now because they're already helping Gabriel and Shax is sniffing around and they might be nearly out of time.

Crowley does have some time-related stuff happening in his story and the ability to control it but it seems to me more likely that Crowley's ability to remember that he has control of it has been taken from him in the present in S2 than it is that he's in a time loop. In the disaster kiss scene with Aziraphale, Aziraphale is really obviously signaling to Crowley a request that he freeze time. (It's obvious to us, I mean-- Aziraphale hid it from The Metatron by curving his hand.) He was trying to get Crowley to do what he did on the tarmac in S1 when he stopped everything and took them and Adam to a little time out cloud to help Adam figure out how to deal with Satan.

Crowley, though, just kind of stares at Aziraphale, even though this is literally one of the most recognizable hand signals on the planet. He also didn't just do it himself at the start of the conversation. If I were the villains, I'd be damn sure that Crowley didn't remember that he could freeze time after S1 and Crowley was gone all night before this scene (which he also doesn't seem to totally realize, no matter how many people around him keep commenting on how it's now morning.) The story, to me, seems to be suggesting that the Crowley & time stuff in S2 is that he doesn't recall that he can control it.

re: Aziraphale and what his angelic status/rank is in S1-- the cherub/principality/"you've been a bit of a fallen angel" bit...

When Michael and the other angels corner Aziraphale in S1 and Michael says that they've been learning some "disturbing things" about Aziraphale and that he's "been a bit of a fallen angel", the disturbing things are, imo, the photos of Aziraphale and Crowley that Michael has dug up. (Hypocritical much on Michael's part? Their phone chats with Ligur? That Gabriel knows about and lets them get away with but Michael wants to go after Aziraphale for having a relationship with Crowley? Yeah. Gross.) Michael and Uriel are threatening Aziraphale with a fall in the scene when they corner him. Uriel says "and don't think your boyfriend in the dark sunglasses will get you special treatment in Hell." They're using their power to threaten to cast him out as a way of trying to intimidate Aziraphale, which is another way of showing how political falling is and how it's all kind of b.s..

A demon is a fallen angel, by definition. That's the definition of a demon. Heaven has socialized angels to believe that the demons are all evil-- that they're devout followers of Satan and horrible people and to associate with them is to sully yourself with their satanicness and all that lol. In reality, there are some evil demons-- Satan is evil, Ligur was pretty bad-- but there are also some evil as fuck angels... The Metatron at the top of that list. In reality, the demons are the angels who put notes in the metaphorical suggestion box. They stood up and spoke out and questioned things. They're the curious, free-thinking "troublemakers" whose questioning of authority threatened to crumble The Metatron's power so he reacted by ostracizing them. He made a sense of the demons being "other" and evil. He invented Hell and banished them all to it-- lumping curious rebels like Crowley in with evil like Lucifer/Satan and using them as examples of what happens to those who dare to question. There really is no such thing as "a demon"-- there are just angels who have been told they're no good and that they've been cast out and are part of the collective owned by and working for Satan.

In S2, we get another bit of info about a fall when Gabriel falls. The Metatron can't send Gabriel to Hell like he would other angels because he did that once with Lucifer/Satan-- the last one to have Gabriel's job before Gabriel-- and once is "a good story" (meaning, once is a cautionary tale that keeps angels in line) but twice would suggest "an institutional problem"... twice would cause a rebellion. Twice would show that the problem is really Heaven. But, The Metatron has to do something with Gabriel, so he's going to erase Gabriel's memories (he tries to before Gabriel enacts Operation Fly and saves his memories thanks to Beez) and cast him down to a new rank of angel that they've just added to the bottom of the pile-- just for Gabriel lol. It's all political, which is how Crowley and Beez fell back in the day as well. They were caught up with Lucifer and held up as examples of evil when it seems that they really were just looking for others who were questioning things, too.

Does Aziraphale realize he's falling in S2? I think there's some language in the kiss disaster scene that indicates he suspects he might be and that he doesn't fully trust in what The Metatron is offering him-- or that that's really The Metatron. I don't think he realized he was falling until that point. It's a question, though, of what a fall really is. There are many ways to fall. You can literally fall from a great height. You can fall in rank. Both of these things happen during a fall from Heaven, in Good Omens, from what we've been told, but there are other types of fall. You can also fall in love. You can fall into despair. These ones? Aziraphale knew about. He fell in love with Crowley a long time ago and despair is always something he's working at keeping at bay, sometimes more successfully than others. In the end, his fall from Heaven is tied to both of those other kinds of falls.

But is Aziraphale already something of a fallen angel, like you asked? What of the fact that he was a cherub at one point and is a principality? Which is higher rank? We are told in the book that people "make jokes" about the fact that Aziraphale has both of those ranks. The word 'joke' comes from the Latin jocus, which literally means 'wordplay' and I think maybe looking at the different kinds of rank in Heaven through that angle might be worth a look. (Me? Taking a wordplay angle? Who would've ever thought? lol)

Who outranks who can be shown to us by how the characters behave in the scenes but the ranks of angels are more about what the words mean than about exactly which level that rank is, I think. For instance, there is some evidence that a throne and a dominion are the same level of rank-- that an angel can be both at once... which makes more sense when you consider the power aspects of those words and that here's our throne/dominion leaving his chair to dominate his plants in S1:

People are complex and need more words than one title might allow.

Aziraphale can be a cherub and a principality because once you start to get into the meanings of all of these words, you can see that which ones are given to Crowley and Aziraphale are done because of how they support who the characters are-- and how they overlap. I have a meta that I've been playing with from time to time about the different meanings of principality/dominion/throne and how Crowley and Aziraphale are both really all of them. I'll try to finish that one up soon. If you look at wordplay around the word "rank" itself, though...

...a rank is a placement or a position in military order, yeah, but it's also a bad smell. Something that is rank is something that is foul and offensive. One of the themes of the show to me seems to be that, whether you're an angel or a demon or a human, you possess your own power and no one can take that away from you unless you let them. Empowerment and freedom is the realization of that. We're all equal beings. The characters who are the least interested with power systems-- the ones who have freed themselves from concern about it and live as independently as they are able-- are the ones who view others as autonomous beings and do not support oppression of others. They are the least rank because they are dismissive of the idea of rank itself.

So, while we're having fun with words here... those who are the least rank are also probably not rank in the scent sense of the word, too lol. This would be why we have a multiple scenes devoted to how everyone is in a faint over how great Crowley smells. He's the least rank of them all-- in every way possible. 😉

The other "too late"-related meta:

#ineffable husbands #good omens #crowley #aziraphale #good omens 2 #aziracrow #good omens meta

45 notes · View notes